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The Journal of Mary Hervey Russell, by Storm Jameson (1945)

maryherveyrussell
I found this intriguing book on the Internet Archive (link), started reading it, and kept on and on, wondering where its meandering and, at times, mirage-like thread would lead. By the time I realized that it didn’t fully qualify as neglected (it’s been reissued, along with over a dozen other titles by Storm Jameson, as an e-book by Bloomsbury Publishing), it was too late.

Although Jameson presents it as the journal of the fictional Mary Hervey Russell, daughter of the domineering Sylvia (portrayed with both empathy and acidity in The Captain’s Wife) and her husband, captain of various small freighters, the intersections between the fictional Mary and the real-life Storm Jameson are too many to mistake this as anything but Jameson’s own journal, lightly disguised. It’s also not always a journal, as it includes a short play featuring Odysseus and a conversation about contemporary English poetry conducted by the corpses of several British soldiers killed during the German invasion of France in 1940.

Many of the entries are undated, but one can safely say that the journal covers the period between the Sudetenland crisis of 1938 and early 1943. Much of the first half of the book deals with the fears and trials of European intellectuals that Russell/Jameson encounters and assists in her role as president of the British branch of PEN, and the second half with her experiences during the first years of World War Two, including the Blitz and rationing. While I initially thought Jameson’s reflections on these contemporary events would be the most interesting parts of the book, there is often such a relentless seriousness that too much of it becomes tedious. (Or ridiculous: “Turning her back on us, France is bequeathing us a summer. Very kind. It would be kinder still if she sent us her Fleet.”)

Instead, perhaps the strongest connecting thread in the book is that of Russell/Jameson’s memories and emotions about her family. Her mother was imperious, selfish, unloving, and dismissive of her husband and children. Though seen from a distance of thirty years or more, her actions and words left wounds still raw. Jameson mourns the loss of her brother, a pilot killed in the First World War and then, just at the end, of her sister, killed in a German bombing raid. And she reflects upon the parallels between her family’s small dramas and the great changes she has witnessed in her lifetime:

Mine is the last generation brought up to know a great many hymns. And the last which remembers, as a thing felt, the Victorian certainties, hollow as these were, wormed inside, in 1900. Isolated, sarcastically indifferent to the rest of England, our Victorianism was almost of 1840. I rebelled against it, but it had formed and deformed me; even my revolt was filial. My deepest self, when I am conscious — you won’t expect me to answer for any sleeping or disinterested self — is patient, stubborn, a little cracked in its dislike of being told what to do. Anything which is repeated a great many times, a chair, a sentiment, words, repels it.

The lyricism of some of Russell/Jameson’s recollections are almost Proustian in their intensity, and I will have to excerpt one later to illustrate this.

While some parts of The Journal of Mary Hervey Russell are abstruce, dated, histrionic, or simply tedious, there are also some wonderful passages:

My landlady, a woman about forty, was in her room on the ground floor, the door open, while her hair was waved. Looking in the glass she could watch it as well as note who came in and out. In a monotonous voice she was telling the hairdresser that her husband had spent the night “with those women”, and was asleep in his room. “First thing when he wakes he’ll ask me to give him a clean shirt, and then what money I have in the drawer. What disillusion!”

The lines of her mouth formed a single word, of surprise and bitterness.

The streets here, behind their mask, unsmiling, of sunlight, are grey and hard with age. The life going on continuously, every inch occupied by it, in every room someone coughing, working, bartering, baking, or pressing offal into a cheap pate, ironing, giving birth, dying, was self-supported and self-devouring, completely cut off, by a hard membrane, from the soil.

This was the eighth book Jameson published during the war, and over the course of a sixty-year career, she published well over five dozen books. As with Ethel Mannin, Phyllis Bottome, and a number of her other contemporaries, Jameson’s work was a remarkable combination of the prolific, the popular, the psychological, and the political. It’s hard to imagine all of these qualities coexisting in a successful writer today.


The Journal of Mary Hervey Russell, by Storm Jameson
London: Macmillan, 1945

Adventures of an Ordinary Mind, by Lesley Conger (1963)

Cover of 'Adventures of an Ordinary Mind'Sitting in her kitchen nook, sipping her mid-morning cup of coffee–“the best part of being a housewife” — Lesley Conger decided one day in October 1961 that, “The shape my ambition has taken this year is this: I shall begin to read all the books I should have read by now….” Adventures of an Ordinary Mind is the diary of that year of reading.

Today, such books are becoming almost a micro-genre on their own, with such recent titles as Susan Hill’s Howards End Is on the Landing: A Year of Reading from Home, Andy Miller’s The Year of Reading Dangerously, Phyllis Rose’s The Year of Reading Proust (not to mention her dive into neglected books, The Shelf). The only easily-found precedent to Conger’s book, however — which she does mention — was Bernard Berenson’s A Year’s Reading for Fun, an account of how he and his fellow inmates of I Tatti (hardly the worst place to get stuck) wiled away a year during World War Two mining Berenson’s priceless library.

Lesley Conger and her book are quite the contrasts to the refined taste and elevated atmosphere of Berenson and his book. Mother to six children ranging in age from five to fifteen, she squeezed her reading in between loads of laundry, stirred stewpots with a book in one hand, and found the energy to get through a canto or two of Dante before turning out the light. Instead of Renaissance masterpieces, her walls featured PTA notices, children’s crayon drawings, maps with vacation routes marked in red and “an oil painting by a nobody, left over from Greenwich Village days, which nobody likes but it has such a nice frame.” And Berenson probably never wondered, “If a child is going to drop a doughnut thickly crusted in powdered sugar, why does he do it at the top of a flight of stairs carpeted in dark red?”

Lesley Conger was the pen-name of Shirley Suttles — who. at the time, really was a housewife, living in Vancouver, B.C. and raising seven kids (the last one came after this book) with her husband, Wayne. Contrary to her title, though, Suttles was no ordinary mind. She and her husband studied at the University of Washington and Berkeley, and she spent at year at the New School for Social Research, sharing a room with the very young James Baldwin, before reuniting with Wayne back in Seattle (he was the UW’s first Ph.D. graduate in anthropology). Even as their family began to grow, she still found to write articles and short stories for magazines such as Cosmopolitan, Good Housekeeping, and McCalls, and even published a humorous account of life in the Suttles house, Love and Peanut Butter (1961). Her husband went on to become a pioneering ethnographer and linguist of Indians of the Pacific Northwest, publishing such works as Musqueam Reference Grammar (still in print, by the way).

And her year’s reading included works that can challenge even the least distracted readers: Vergil; Euripides; the Bhagavad Gita; Bouvard et Pécuchet; Camus’ The Plague. She puts a remarkable effort into sticking with her program through its dryest spells. But then she is, she admits, addicted to reading:

I will read anything. I will even read it twice. And because I have a large house and six children and a cat and a dog, and can’t always find an uninterrupted hour or two to sit down peacefully with a book, I read on the fly, as it were. I read while stirring a pudding; I read while darning socks. There is always some book I am reading, and I carry it around with me, propping it open wherever I happen to be. I can, for example, read a page or two while the dirty water drains out of the washing machine, and a page of Maugham is more diverting than a view of mud from blue jeans under a scum of detergent suds.

When she goes to the library, it’s “in the mood of a logger hitting town after six weeks in the bush.” She does confess at one point, though, that Plato’s Dialogues “are not what a weary mother wants to read between bouts of caring for a small patient.” And I had to shout, “Amen!” when I read that she found “reading Faulkner like wading through waist-deep water thick with seaweed.”

Sadly, this book was seen as a mix of Erma Bombeck and the Great Books Program, didn’t please the fans of Love and Peanut Butter nor those looking for something a little more intellectual. Kirkus Reviews dismissed it as “a pleasant annotation of a full life and an eager mind — but no more.” The only printing was quickly shuffled to the remainder pile.

And though, late in the book, she celebrates carving out a room of her own (actually, just a closet) so she can concentrate on finishing a novella, Conger/Suttles did not publish another book for adult readers, aside from To Writers, with Love, a collection of her “Off the Cuff” columns, which appeared in The Writer for over fifteen years.

Shirley Suttles died in 2006, at the age of 88, a year after her husband Wayne’s passing, leaving behind a large family — and a few happy readers.


Adventures of an Ordinary Mind, by Lesley Conger
New York: W. W. Norton & Company, Inc., 1963

Double Exposure, by Gloria Vanderbilt and Thelma Lady Furness (1958)

doubleexposureYou don’t read Double Exposure, the dual-narrated memoir of identical twins and society dames Gloria Morgan Vanderbilt and Thelma Morgan, Lady (later Viscountess) Furness as literature, but as a combination of specimen and spectacle. And as the latter, it offers more nooks and crevices than a Mandelbrot set.

For those into abnormal psychology, there is their half-Irish, half-Chilean and 100% drama-queen mother, Laura Delphine Kilpatrick Morgan. Nora Ephron once wrote that, “If you give your kids a choice, your mother in the next room on the verge of suicide versus your mother in Hawaii in ecstasy, they’d choose suicide in the next room.” If you asked Gloria and Thelma, they’d go for the Hawaii option: anything to get away from that woman. Their daddy, on the other hand, the fine, dignified and long-suffering diplomat, Harry Hays Morgan (Senior), could do no wrong. Is it any wonder that both girls pretty much marry the first men who show any interest in them and who shared the outstanding attribute of being about the age of their father when they were born?

No matter, for each is quickly disposed with. Thelma’s first husband, Jimmy Vail Converse, grandson of AT&T co-founder Theodore Vail, turns out to be an abusive and bankrupt alcoholic. A quick trip to California produces a divorce, followed in about a year by marriage to Marmaduke Furness, British shipping magnate and member of the House of Lords … and also over twenty years her senior. His good manners and huge fortune could not hold a candle to the likes of Edward Prince of Wales, and Divorce Number Two followed within eight years of Divorce Number One. Sadly, Thelma lost out to another American divorcee, Wallis Simpson, and had to drown her sorrows in a quick fling with Prince Aly Khan (later husband to Rita Hayworth). She managed somehow to overlook the fact that, for once, she was the older one.

Meanwhile, Gloria fell for and married Reginald Claypoole Vanderbilt, heir to the fortune established by “Commodore” Vanderbilt. Gloria and Reggie got along famously (sorry), but sadly, Reggie had to go and ruin things by choking to death on his own blood due to a mysterious throat hemorrhage medical condition he had kept secret from her. A man whose chief accomplishment, according to his Wikipedia entry, was that, “He was the founder and president of many equestrian organizations,” Reggie left his widow and daughter (the Gloria Vanderbilt of fashion fame) comfortably off. Unfortunately, he and his lawyers left open a legal loophole through which his sister, Gertrude Vanderbilt Whitney (yes, those Whitneys, swooped a few years later, making off with daughter Gloria and most of (mother) Gloria’s money. Nothing for it but a few more affairs. Oh, and a few years after that, daughter Gloria and lawyers swooped again, took mother Gloria’s annual allowance, and donated it to a charity for the blind. Had the expression been invented back then, one imagines (daughter) Gloria’s lawyers shouting, “BOO-YAH!”

But wait–there’s more! There are the rare and elusive Vanderbilt siblings–three of them. You have to keep a sharp eye out for them, though: no sooner than you spot one and it’s off into the mists for another decade or two. There are more transatlantic steamship trips than there are Washington-New York shuttle flights. There are their many close, intimate acquaintances–humble folk “such as Peggy Stout, who married dashing Lawrence Copley Thaw and later divorced him; Jimmy and Dorothy Fargo, whose name is associated with Pony Express fame; the two daughters of Mrs. Richard T. Wilson, Marion and Louise; Juan Trippe, now president of Pan-American Airways; the two Jimmys, Leary and O’Gorman; and Margaret Power, who had introduced us to Margaret Hennessy. They were both from Montana; their families at one time jointly owned the Anaconda copper mines.” And you: who do you watch polo with? Thought so.

Kirkus Reviews praised the twin authors for “sparing no detail no matter how unorthodox,” but half the fun of this book are the details they left out. Like, say, a moral and ethical framework. As Thelma is falling in love with Prince Edward, she and “Duke” Furness head off to Africa for a spot of safari and shooting. Lying in her tent one night, Thelma wails, “Why did I have to be the big white hunter?” A short ellipsis later, and she totes up her toll: “I shot an elephant, a lion, a rhino, and a water buffalo.” Even in those days, scruples were so passé. If you ever needed proof positive that the very rich are different from you and I, take a stroll through Double Exposure. For us proles, it’s available for free on the Internet Archive (Link).


from Double Exposure, by Gloria Vanderbilt and Thelma Lady Furness
New York: David McKay and Company, 1958

Risk, by Rachel MacKenzie (1971)

Cover of first US edition of "Risk"

Risk, Rachel MacKenzie’s brief account of her hospitalization and initial recovery from open-heart surgery to repair an aneurysm of the left ventricle of her heart is one of the shortest books covered on this site, just 59 pages in all.

Adapted from an article she published in The New Yorker in November, 1970 as “fiction,” it’s a model of the ultra-efficient narrative. There is nothing unnecessary in her account. A student of the progress of heart surgery could easily trace the entire course of her diagnosis, examinations, surgery, and post-operative difficulties, including the game of drug roulette her cardiologist plays until settling on Dilantin as the most effective treatment for arrhythmia, yet no individual element of her medical care gets more than a few lean paragraphs’ attention.

And her choice of the third person allows her to be ruthlessly selective in what she mentions of her own emotions and sensations. She notes pain–when it comes, where it stays, how long it takes to leave. The widely different abilities of doctors and nurses to insert catheters–quickly, barely noticeably or ineptly, leaving bruises and soreness from repeated assaults–gets special notice.

Risk takes its title from the fact that open-heart surgery was still a new field in 1970, one where full recovery could not yet be taken for granted. Her surgeon tells her,

“I have to tell you that we could get your chest opened up and I might decide the risk was too great to proceed. It’s large. The men who did the arteriogram figure between fifty and sixty. They think nearer sixty. I still think fifty. It will depend on our judgment of the strength of what’s left of the ventricle to carry on.”

Later, another doctor puts the situation in starker terms:

“Dr. Jamison,” she [MacKenzie] said, “I’ve been thinking. Are there particular risks and complications in this surgery I ought to know about? Do you really aprove of my having it?”

The expression of special pleasure that had been on Dr. Jamison’s face gave way to one of reserve. “Nobody’s rushing you into this,” he said. “It’s entirely your decision.”

“That isn’t what I mean. My decision was made before I ever came in here. But I would like to know what the risk is.”

“It makes no sense to talk about risks in a thing like this,” Dr. Jamison said. “Risks are statistics. Averages. So far as you’re concerned, they’re on hundred per cent or they’re zero.”

The surgery itself is successful, but MacKenzie experiences a number of post-operative complications that leave her variously frustrated, depressed, and impatient. But she progresses from ICU to Cardiac Care and finally to a normal recovery ward, and is able to return home.

Months later, discussing her case with her cardiologist, she is able to put the risks into human terms:

“How many of those operations have they done?” she asked.

“Between fifteen and twenty–seventeen is the exact number, I believe.”

Dr. Rudd had said the risk was thirty-five per cent or a little more. She figured. Had they lost six? Seven?

Looking back on her own experience, she thinks, “Dear God, the miracle.”
Rachel MacKenzie at The New Yorker
Rachel MacKenzie was a editor at The New Yorker from 1956 until just before her death in 1980, and worked with some of the magazine’s most intimidating contributors–Saul Bellow, Isaac Bashevis Singer–and fostered the early work of Philip Roth, Muriel Spark, and Bernard Malamud. Born in a small town in Ohio in 1909, she spent over twenty years as a teacher, first at Ginling College in Nanjing, China, then at the College of Wooster, Radcliffe, Wellesley, and the Bread Loaf Writers’ Conference. The American Heart Association presented her with the Blakeslee Award “for lasting service to physicians as well as laymen” in honor of Risk. Her one novel, The Wine of Astonishment, published in 1974, tells the story of two spinster sisters and their lives in the tight-knit and strictly conventional community of a small upstate New York town.

Ironically, one of the earliest of her few published pieces was a short story titled, “The Thread,” which appeared in Harpers in September 1947. Relating the experience of Ellen, a young girl hospitalized for injuries that require some surgery, it greatly foreshadows Risk, even down to the constant refrain of doctors and nurses warning, “Just a pinprick” before giving another of her countless injections. Harpers subscribers can read “The Thread” on the Harpers Archive (link).


Risk, by Rachel MacKenzie
New York: The Viking Press, 1971

A Half of Two Lives, by Alison Waley (1982)

Covers of UK and US editions of 'A Half of Two Lives'
First, let’s start with the facts, since these are not this book’s strong suit.

Sometime in 1929, Arthur Waley, who was working as Assistant Keeper of Oriental Prints and Manuscripts at the British Museum and who had began to be known as a translator and popularizer of Asian literature with his publication of A Hundred and Seventy Chinese Poems, met Alison Grant, a young woman recently emigrated to London from New Zealand. She fell headlong in love with him and he was at least strongly attracted to her. Soon after, he took her back to his flat and they spent the night lying together, fully clothed, in his bed. As he led her to the street the next day, he tells her, “You must never come here again.” Why? Because “There is a lady in Fez….”

The lady in Fez was Beryl de Zoete, a dancer, writer, and researcher into exotic dance forms, with whom Waley had begun living in 1918. Although Beryl was “in Fez”–with three male admirers in tow–Waley implied that her return was imminent and that their ambiguous relationship had to take precedence over whatever he might like to start up with Alison. And so they parted, only to catch glimpses and exchange a few words while passing in and out of the British Museum. Alison married, bore a son, and carried on–the whole time still carrying a torch for Arthur.

Then, sometime in 1943, they met again in the midst of the Blitz and decided to resume the affair. Alison’s husband walked in on the pair–again lying together fully-clothed–and left her. Arthur, however, stayed firmly embedded with Beryl. And even more firmly embedded to the life of the solitary scholar. A man who spent his life studying and translating the literature of Asia, he never actually traveled more than a few hundred miles from London and was never able to converse in Chinese or Japanese. By all accounts other than Alison’s, he was at his happiest alone with his books and papers.

Nearly twenty years passed. Ten years older than Arthur, Beryl began to suffer the effects of Huntington’s chorea and was eventually confined to a bed in their Bloomsbury flat, where she died in 1962 at the age of 82. Alison swooped in and began to arrange for a life together with Arthur. Arthur appeared somewhat less enthusiastic at the prospect–in fact, he went and rented a studio flat–but after injured in an automobile accident while Alison was driving and, in its aftermath, diagnosed with cancer of the spine, he agreed to spend his few remaining months with her. Weeks before his death, they are wed at the local registry office. Arthur died in 1966 at the age of 76; Alison lived on to the next millennium, dying at the age of 100 in 2001.

Now, to the book.

In some ways, I’m tempted to call this the greatest of all English romances.

I say that because A Half of Two Lives features some of the most passionate love scenes, some of the most operatically intense raptures, some of the most uncontrolled and unashamed outbursts of desire to be found in any pages of English prose. Although she had to wait until the age of 82 to publish her love story, Alison Grant Robinson Waley managed to channel all the energy and focus of her inner teenager into its telling.

And I say that because, at the same time, this is a very English romance. Whether Arthur and Alison or Arthur and Beryl ever did actually have sex remains in doubt. Some writers suggest that Arthur was actually a tightly closeted homosexual, and among the weirder passages in this book are recollections of his distaste and dismissal of gays (“No party without buggers,” he sighed when reviewing a list of guests prepared by Alison). Although Arthur assures Alison at the very onset, “I love you. Every sort of way. Even physically,” it becomes clear that “even physically” is defined as holding hands, snuggling, and, in very special moments, kissing. By the time Arthur and Alison are living together, he is paralyzed from the chest down. There was a rumor, back in 2008, that the Hungarian director Istvan Szabo was planning to make a film based A Half of Two Lives. Had he stayed faithful (no pun intended) to the book, the film would been lucky to earn a “PG” rating.

What no one–other than Alison Waley–questions, though, is that this is not a work of nonfiction. Reviewing it for the New York Times, Humphrey Carpenter wrote, “There are many kinds of biography, and this is none of them.” He preferred to call it “a kind of mad, splendid poem.” Marina Warner, in The Sunday Times politely demurred that “it does not resemble a conventional biography,” while Hermione Lee was–by TLS standards–blunt in calling it “a fervent, fragmentary, and extremely odd narrative.” Even Hilary Spurling, in her well-modulated introduction to the book, advised that, “Some of the stranger episodes … do not tally with other people’s recollections any more than the anguished and tormented Arthur of this book matches previously published reminiscences of the great sinologist.”

Writing in the London Review of Books, Penelope Fitzgerald was characteristically insightful and deft: “Alison Waley, although she is a poet, has been too close to what she calls ‘every tear, every pain, every certainty’ to record them with precision. Sincerity should be the same thing as clarify, but isn’t.” And even between her own lines, Alison Waley occasionally betrays herself. At one gathering of the Bloomsbury elite, Arthur refused to introduce her, remarking, “One doesn’t introduce a child.” A further clue to Waley’s reservations can be found in this note from a 2011 auction of a collection of his letters and postcards to Beryl and Alison: “Waley’s correspondence with his future wife, Alison Grant Robinson, chiefly comprises the briefest notes, suggesting an elusive and apologetic relationship: ‘I shall be delighted to see you, on condition you don’t say nasty things about Beryl’; ‘I hate to cause you pain & disappointment’; ‘Will you obey me or not?'”

In a 1986 article in the Journal of the Rutgers University Libraries, Marian Ury quotes Edith Sitwell, writing to William Plomer after a visit from Alison: “[She] thinks one has to be screwed up to the pitch at which one writes, the whole time–otherwise one isn’t a writer.” And that, finally, defines what makes A Half of Two Lives simultaneously horrifying and wonderful. “Time must have a stop,” Alison quotes at several points in this book, but it’s obvious she never felt that applied to her passions, which she could still let blast full-bore in her ninth decade.

Even at a distance of over twenty years, for example, she cannot mute the tone of romantic madness in her last encounter with Beryl:

Beryl–propped with a dozen pillow–regards me with wavering glance.

I take her wildly jerking hands in mine and they are suddenly still. Looking only into her eyes, now fixed on mine and strangely glowing, I say: “Hullo, Beryl …” I lean forward and kiss her brow–sweat-soaked, dark and strange under its flying wisps of white. I sit back on my heels and lay my bare arms along her own–no more than withered sticks: but our eyes hold. And in that long moment we are known to one another so that nothing stands between. In some no-place, in some mid-heaven, a truce is called: all is as it might have been. I feel only a surge of love and joy that from that grotesque mask the eyes–oh, but unbelievably–are smiling into mine.

The next time an English composer is in need of a good libretto, he should take a careful look at A Half of Two Lives. If the book’s not the basis for the Great English Opera, there’s no question that Alison Waley is certainly a perfect candidate for the Great English Operatic Heroine with her motto, “Keep Hysterically Passionate and Carry On.”


A Half of Two Lives, by Alison Waley
London: Weidenfeld and Nicholson, 1982
New York: McGraw Hill, 1983

Out of My Time, by Marya Mannes (1971)

outofmytimeThis is one of the most frustrating books I’ve read in a long time.

Marya Mannes was a woman who got around with a capital “A.” Her parents, David Mannes and Clara Damrosch Mannes, were among the most popular and respected classical musicians of the early 20th century, and through their New York apartment flowed a constant stream of talents such as Pablo Casals, Alfred Cortot, and Arthur Schnabel, as well as Clara’s brothers Frank and Walter. Her brother Leopold was a celebrated concert pianist, married one of George Gershwin’s sisters, and, along with fellow musician, Leopold Godowsky, Jr., invented the process behind Kodachrome color film.

When she was 19, she travelled alone to England, where she studied with sculptor Frank Dobson and socialized with various members of the Bloomsbury set before heading off to Paris and the Riviera, where she partied with F. Scott Fitzgerald and the Murphys. Returning to the U. S., she wrote a play that was produced (unsuccessfully) on Broadway, married Jo Mielziner (“the most successful set designer of the Golden era of Broadway,” according to Wikipedia), and wrote and modelled for Vogue. She left Mielziner to live with Francisco Duran-Reynals, a pioneering researcher into cancer virology, then travelled back to Europe, where she married the wealthy American artist, Richard Blow. She and Blow enjoyed life in their palatial villa in the hills outside Florence until they fled to the U. S. just a few days before the Germans invaded Poland in 1939.

Her gift for languages and wide network of contacts came to the attention of the Office of War Information and, later, the OSS, which sent her to Portugal and Spain–where she also managed to write a series of “Letters” for The New Yorker. Then it was back again to the U. S., where she brought along Paul Cavaillez–a French aviator later convicted as a Nazi spy–to one of the first public showings of film from the concentration camps at Belsen and Buchenwald. Then back to Europe, this time working for Vogue, and on to Egypt and Palestine, where she watched the arrival of one of the first ships carrying Holocaust survivors to their new homeland. After that, she published as best-selling novel, Message from a Stranger and married husband #3, former R. A. F. pilot and British aviation executive Christopher Clarkson.

When she and Clarkson moved back to New York City after his assignment as air attache in Washington, D. C., Mannes started writing regularly for The Reporter and became one of the earliest critics of television–and then, one of the earliest critics to appear on television, in the early days of The Huntley-Brinkley Report. And, ironically, managed to get some early and strong pro-feminist pieces into the pages of such magazines as Vogue, Redbook, and McCalls. By the late 1960s, her face and name was so widely recognized that T. V. Guide could feature her in an advertisement as a foil to Ed Sullivan.
tvguidead
And in and amongst all this, she carried on a series of affairs, for which she offers no regrets or apologies:

I did not then–and do not now–understand the term “promiscuous”: used pejoratively, of course, and only of women. What was wong with giving and receiving warmth, pleasure, affection, and release even if these could no qualify as love? If it was not wrong for men (Oh yes, philanderer, rake, swordsman, what have you–all implicitly more flattering than diminishing) why was it wrong for women? One at a time, to be sure. For one night, or ten, or two years. But how could you know a man you liked without knowing his body?

Of course you accepted the consequences of these acts. You accepted uncertainty, disappointment, pain, loneliness, and insecurity. But you lived as full as you could, and often as deeply.

So why my frustration?

I think there’s a subtle clue in the passage above. Note that in the space of one paragraph, she shifts from first to second person. Now, it’s not uncommon for a memoirist to address her younger self as “you,” but in this case, the “you” seems less the younger Marya than an ambiguous other person that could be herself but might just as easily be the reader or women of her generation or … well, you can make your own guess. Although Mannes quotes from her own diaries, letters, articles and unpublished works throughout the book, there is always an odd sense of the impersonal in her tone.

Take, for example, how she relates her experience of early motherhood:

There–really there–a child. And I was a mother.

In love, yes, but not in nuture. A nurse was already waiting at home. There would always be nurses. What did I know about taking care of a child, free soul over thirty, always in other worlds? No more prepared to be a mother than his sire a father?

… But once maternal demands began to impinge, I began to retreat. Like most men who have successfully dodged for millennia the actual nuture of child and home (owed equally with their women) I wanted to pull free of the basic hourly, daily matters of care. I loved to hold my child but not diaper him.

While I give Marya Mannes full marks for her honesty, I can’t read the above without thinking it was written more as an editorial commentary than a felt memory. “His sire?” Who used “sire” outside of animal husbandry in the last hundred years? A few diaper changes might have provided something missing in much of Out Of My Time: sensations.

This book is full of thoughts and reflections but largely empty of the things that make one person’s memories real to another–the specific details of touch, taste, sight, smell and sound. When she does try to convey them, the result is unconvincing. Here, she describes going out to meet a ship bringing Jewish refugees into Haifa harbor: “Alongside the hull, the smell from the black portholes just above our heads was overpoweringly foul: the breath of a thousand latrines and a hundred hours of sweat.” Maybe it’s just me, but this clunky prose seems like a second-hand memory rather than something still vivid and felt twenty-some years later.

Too much of Out Of My Time is life in the abstract rather than the immediate. Although Mannes dedicates the book “To my son, with love and respect,” he goes unnamed and is mentioned, glancingly, less than five times after he’s born (e.g., “The adventurer in me would often continue to prevail, at a child’s expense, over the parent”). “A child”? His name was David Jeremy Blow, for the record. Neither do her three husbands get names. I had to rely on her New York Time obituary for theirs.

And this is what makes Out Of My Time such a frustrating book. Marya lived a remarkable, diverse, creative, original, and significant life. Her autobiography ought to be fascinating, a page-turner, full of anecdotes and insights. Instead, too much of the time it reads like War and Peace–specifically, the Second Epilogue, where dancing Natasha and dithering Pierre are replaced by Tolstoy the would-be philospher of history (“What force moves nations?”). Had Tolstoy not preceded the Second Epilogue with a thousand pages of rich, vivid, intensely felt fiction, no one would read War and Peace today. Just as almost no one reads Out Of My Time now.


Out of My Time, Marya Mannes
Garden City, New York: Doubleday & Company, Inc.

Along Came the Witch: A Journal in the 1960s, by Helen Bevington

Cover of first U. S. edition of 'Along Came the Witch'The works of Helen Bevington–poet, memoirist, and long-time professor of English at Duke University–remain one of the most delightful discoveries of my years of exploring in the realm of neglected books. I started out 2013 with her trilogy of memoirs–Charley Smith’s Girl (1965); A Book and a Love Affair (1968); and The House Was Quiet and the World Was Calm (1971)–and since then, have added most of her other books to my collection. So I thought a dip into her oeuvre would be a nice start to this year of reading the works of women writers.

Bevington, whose comic verse was often featured in The New Yorker and New York Times Book Review, began writing a memoir in the early 1960s. The book, which became Charley Smith’s Girl, was as much a portrait of her parents, Charley and Lizzie, whose divorce, when Helen was still a very young girl, was considered quite scandalous at the time. Not long before it was published, Bevington’s husband, Merle, also an English professor at Duke, died suddenly of a brain tumor at the age of 64.

To honor Merle’s memory, she wrote A Book and a Love Affair, which recounted their meeting while students at Columbia University in the 1920s and the early years of their marriage. She followed this with The House Was Quiet and the World Was Calm, which covered their move to North Carolina and the experience of raising their two sons, Phillip and David, both of whom became distinguished professors–Phillip of physics and David of English. This book concluded with Phillip’s recovery from a near-fatal car accident that left him a paraplegic.

Along Came the Witch: A Journal in the 1960’s, published five years later, contains excerpts from the journal she had been keeping for many years. Most entries are less than a page long and undated aside from being collected by month and year. Often she reprints the poems she had written at the time, many of them inspired by her reading or the passing seasons.

The title of Along Came the Witch is taken from one of her poems:

Lost in the night, my love,
Are those who could never tell
The perishable world from the imperishable.

So they lived everafter, rich
In fairytales and in general–
Till along came the witch.

The inevitable, though always unexpected, appearance of evil and pain is a recurrent theme throughout this journal. In the first few years, she lost her mother and husband, both to diseases that were long-diagnosed but late, abrupt, and harsh in their effects. And throughout the decade, she saw violence and conflict erupting in the world: the assassinations of JFK, Robert Kennedy, and Martin Luther King; the start of the Vietnam War; civil rights protests and political and race riots; demonstrations and even tear gas on her own campus. For Bevington, the 1960s were her anni horribili.

Yet these pages are also filled with beauty, comedy, and love. She was as quick to take note of a new bird around her house or the quirks of her neighbors as the headlines on the TV news. She delighted in observing her young grandchildren coming to their individual perceptions of the world and ways of expressing themselves. She relished a good anecdote, like her hairdresser’s flipping and wrecking a brand new car just to avoid running over a grey squirrel, and the unique language of her house cleaner: “When things go wrong in Rosa’s life and her head is blouzed up with trouble (as when her car was stolen last Saturday night), she takes some jolt medicine.” “Rosa has a got-rights cat. It has got rights the same as everybody.”

Each semester, she approaches each new class and group of students with a mix of trepidation, dismay, and wonder. While she notes petulance and hair lengths increase over the years, she still manages to find a remarkable appetite for learning to love and understand poetry. Bevington was one of the most beloved and respected teachers at Duke, and her joy in this work belies her anxiety about being up to the task. As one of the few faculty members without a PhD, she felt a certain amount of inferiority to her peers, and one of the bright spots in the decade was her acceptance as a full professor in 1970.

Her love of poetry and literature lights up these pages as well. A voracious reader, she is constantly reflecting on what she’s reading, and the depth and richness of her memory of what she’s read is remarkable. Like Isabel Paterson, she seems to have read everything and remembered everything, especially snatches of poetry and conversations. I dog-eared a couple dozen pages just to remind myself to check out the books she mentions.

The central theme of the book, however, is her struggle with learning to live alone. She was in her late fifties when Merle died, and she would live over 35 years as a widow, almost a long as the two were married. In writing of her parents, she concluded that neither offered her a way of living that she could accept for herself: “My mother and my father–one was strong and brave and indomitable, and one withdrew in utter despair. Neither of them ever discovered how to be happy. There must be a third way. I am not sure, but I think there must be a third way.”

She struggled to come to an understanding of this third way throughout the rest of her life. Her last book, in fact, was titled, The Third and Only Way: Reflections on Staying Alive (1996). About a year after Merle’s death, she did come to realize something about how she would have to move forward:

As I drove to the University this morning, thinking about Richard Wilbur whose poetry we would read in class, saying over a line of his, “It is by words and the defeat of words–” I made a sudden resolution, at the stoplight of Broad and Club Boulevard, to unlearn my words.

I will stop using the word lonely. I will change it to independent or alone. Aloneness is not the same thing as loneliness. I will live an independent life, fraught with freedom. I will stop explaining my plight to myself, using charged words like fear, like grief. It is not only cowardly but Byronic. (Byron: “I learned to love despair”). By the defeat of words I grieve. It is myself I mourn for.

Bevington went on to publish two more books of from her journals: The Journey is Everything: A Journal of the Seventies and The World and the Bo Tree, based her travels in the 1980s. I look forward to spending these decades with her.


Along Came a Witch: A Journal in the 1960s, by Helen Bevington
New York: Harcourt, Brace Jovanovich, 1976

In the Land of Pain, by Alphonse Daudet, translated by Julian Barnes (2002)

Cover of 'In the Land of Pain'

I first learned of Alphonse Daudet’s In the Land of Pain from references to it in Julian Barnes’ Nothing to Be Frightened Of. Barnes finds one passage from Daudet so moving that he quotes it twice:

It’s all going … Darkness is gathering me into its arms.
Farewell wife, children, family, the things of my heart …
Farewell me, cherished me, now so hazy, so indistinct

In the Land of Pain is Barnes’ own translation, with extensive annotations, introduction and afterword, of La Doulou (literally, The Painful), which was published in the 1920s, nearly three decades after Daudet’s death.

The book is merely a collection of notes, written over the course of over a decade, while Daudet suffered increasing pain and debility from the ravages taken on his body and mind by syphilis in its tertiary and terminal stage–or, as the Kirkus Reviews reviewer put it, “a 19th-century account of slow death by syphilis.”

One could hardly come up with a less attractive description.

And yet, In the Land of Pain almost radiates with Daudet’s humanity and good humor. Henry James once wrote that Daudet had “an extraordinary sensibility to all the impressions of life and a faculty of language which is in perfect harmony with his wonderful fineness of perception,” and these qualities are on ample display in this slender little book–small in format and under 100 pages long.

And in Julian Barnes, his text has the perfect guide. Barnes notes the unbalanced effect of pain on its sufferer: “… you discover that your pain, while always new to you, quickly becomes repetitive and banal to your intimates….” He provides footnotes that, in themselves, are often quite moving:

Edmond de Goncourt and his brother Jules were so inseparable that in twenty-two years after the death of their mother they were only twice apart for as much as twenty-four hours; so inseparable that they wrote their joint diary in the first person. They moved to Auteuil in 1868; Jules died from tertiary syphilis in 1870. During his final decline, Edmond asked him, “Where are you, my dear chap?” and after a few moments Jules replied, “Always in space, in empty space.” After Jules’ death, Daudet became Edmond’s closest friend, literary confidant and surrogate brother–whereupon Edmond had to witness a harrowing syphilitic decline for the second time. Daudet, for his part, used to quiz Goncourt about Jules’ symptoms, comparing them with his own.

Alphonse DaudetSyphilis took its toll upon Daudet in numerous ways, from random, intense and stabbing pains he could only stay for a few hours with frequent injections of morphine–which had their own unhappy consequences, to the erosion of his spine and the loss of his ability to balance himself and, ultimately, to walk at all. And the range and barbarity of treatments Daudet underwent, as some of them most renowned doctors of his time tried vainly to alleviate his symptoms, if not to effect a cure, are described by Barnes and Daudet in harrowing terms. One learns to value even more the discovery of penicillin.

The disease also attacked Daudet’s very abilities to be a writer:

Are words actually any use to describe what pain (or passion, for that matter) really feels like? Words only come when everything is over, when things have calmed down. They refer only to memory, and are either powerless or untruthful.

His notes became a refuge where he could hide the deterioration of his very ability to hold a pen: “I find it impossible to write an address on an envelope when I know that people will read and examine it; whereas in the intimacy of a notebook I can guide my pen as I choose.”

Nonetheless, the comic aspects of his situation are never too far away:

This resort for anaemics has its funny side. No one remembers anyone’s name; brains are racked all the time; there are great holes in the conversation. It took ten of us to come up with the word “industrial.”

Edmond de Goncourt, Marcel Proust, Zola and other acquaintances all noted that as the disease put Daudet in ever greater pain and invalidity, his patience with and concern for others grew to saint-like dimensions. And one of the strongest themes throughout the book is his concern for how his illness affected his family. His greatest regrets are not for himself but for them: “I only know one thing, and that is to shout to my children, ‘Long live Life!’ But it’s so hard to do, while I am ripped apart by pain.”

Daudet stopped writing his notes about three years before his death. He died on 16 December 1897 as he sat at dinner with his wife, children and mother-in-law, chatting about the playwright Edmond Rostand. He was 57.


In the Land of Pain, by Alphonse Daudet, edited and translated by Julian Barnes
New York: Alfred A. Knopf, 2002

Breaking Point, by Jacob Presser (1958)

breakingpoint

Subtitled “A Factual Novel,” Breaking Point is a chilling account of life in a Nazi transit camp, an official limbo from which the only exit is on the weekly train to Auschwitz. Yet its author, the Dutch historian and secular Jew, Jacques Presser (who was referred to as Jacob Presser in English language editions), never set foot inside a transit camp and spent several years of the war in hiding.

“The one thing I want to repeat for the tenth, for the hundredth time is that all this is true, that it was thus and not otherwise,” writes Presser’s alter ego and narrator, Jacques Suasso Henriques, a Dutch Jew of Portugese descent. Asserting the truth of a work of fiction so forcefully demonstrates remarkable self-confidence in the author, although there was certainly less scrutiny of Holocaust survivor credentials at the time the book was first published in the late 1950s.

Breaking Point is the title given the English language translation by Barrows Mussey. The original Dutch title was De Nacht der Girondijnen, which literally means “The Night of the Girondists.” The reference is to the arrest, trial and execution of the Girondists, a loose political faction that opposed the most extreme measures of the Jacobins and, in the end, fell victim to the very same themselves. (Through much of the war, Presser worked on a biography of Napoleon, Napoleon: Historie en Legende, which was published in 1946.)

Jacques Henriques is a teacher in a secondary school, living in tenuous security due to his family’s “Portugese papers,” in the book’s opening scenes. From time to time, he notes the absence of one or more of his students as the Nazis put increasing pressure on the dwindling Jewish population, but he feels relatively insulated from this terror. Then, one day, while quizzing his students on the “approved” Dutch history textbook, one of them tells him that her mother had been taken the day before:

“And she’d had herself sterilized, because they said …” Then she was crying. This is true; I could repeat it at the Last Judgment: this is what a thirteen-year-old girl said, those very words, in Class 2A of the so-called Jewish High School.

What next? I put down my book, and let the children “work individually for the rest of the period,” the classic phrase of teachers who don’t feel like keeping going.

With that, he walks out of the school without a word and decides to hide himself from the terror in the place he’s least likely to be taken. One of his students puts him in contact with Siegfried Israel Cohn, who runs the Disposition Service at the Westerbork transit camp. The DS, also known as the Jewish SS, polices the inmates of the camp and organizes the selection and loading of the weekly shipments to Auschwitz and other extermination camps. “We, a few intellectuals, office clerks, workmen, traveling salesmen, and peddlers, were to the others undoubtedly the most loathsome scum that God had ever created,” Henriques writes, but they were also effectively immune to selection themselves as they played an essential role in the process.

Henriques enters the camp and joins the DS with a reference from Cohn’s son, and attempts to appreciate the safety of his situation and numbing himself to reality by becoming as cynical as Cohn himself. He even admits to enjoying his position as Cohn’s adjutant: “I did not find it unpleasant. Sure enough, it gave me a pleasing tingle. Plainly I was already beginning to be a man.”

Soon, however, he finds it impossible not to see the camp as a version of hell:

This hell exists today alone. There is no past and no future; everyone knows that in his heart. The past is dead; the future is death. Between the two lies the narrow watershed, life. And that life consists of pursuing a shoelace, of quarreling over a seat by the stove, of fleeting encounters with a woman on the barter system, of intolerable loneliness in intolerable crowds. Each week it rises anew to the fiercest, the unspeakably grisly horror of the one night, the night before the departure; the apocalyptic plunge, forever new, of hundreds of human beings into destruction and death.

Henriques’ cloak of cynicism quickly wears thin, and, in the end, he finds it impossible to keep his anger and fear under wraps. The smallest event–Cohn knocking a book from the hand of a man waiting to board the train–proves his breaking point.

lanotteDespite the fact that Presser never experienced the camps at first hand, Breaking Point is a thoroughly convincing account. So convincing, in fact, that one of the most renown survivors and writers on the Holocaust, Primo Levi, was moved to translate the book into Italian in 1974 (as La notte dei Girondini).

Presser had ample evidence to draw upon. In 1943, his own wife, Debora, was arrested for holding forged papers as sent to Westerbork. Although she later died in the Sobibor camp, her life in the two camps was conveyed to him by her surviving fellow inmates. In 1950, he was contracted by the Dutch government to write a history of the experience of Dutch Jews during the War, a book published in English (and still in print) as Ashes in the Wind: The Destruction of Dutch Jewry. In his research for that book, he came across the diary of a Polish Jew who was a member of the FK [Fliegende Kolonne, or Flying Column], which dealt with the victims’ luggage. Although it did not mention Presser’s wife, it covered in detail the week she spent there.

In an afterword to a Dutch edition of the book quoted in Lina Insana’s 2009 book, Arduous Tasks: Primo Levi, Translation and the Transmission of Holocaust Testimony (Toronto Italian Studies), Philo Bregstein wrote,

And here is an indication of why Presser, before he could begin Ashes in the Wind, first had to write this story about Westerbork: compelled by his sense of personal co-responsibility and in despair over the loss of his first wife, he had searched in this historical material for the place where his wife had last been before all traces of her were lost: that was Westerbork. It was for this reason that Presser knew so much about this subject, even though he had survived the war by going into hiding and had never set foot in Westerbork.

jacquespresser
Presser himself saw a link between the two books that was not solely due to their subject. Although meticulous in documenting his sources and a critic of the hagiographic style found in most biographies of Napoleon prior to his own and that of his countryman and contemporary, Piet Geyl, Presser was nonetheless ready to note that both fiction and history were forms of story-telling:

… for me, there’s very little distance between literature like Night of the Girondists and history like Ashes in the Wind … Yes … there is reality in the fable of Night of the Girondists … just as the reality of Ashes in the Wind is … a fable. It goes beyond dry description … it has something to do with literature.

Just over 80 pages long, Breaking Point is barely more than a long short story, and written in an unadorned, frank confessional style. Yet it’s also a remarkably nuanced work that raises themes that extend far beyond its brief scope. I have to look back to Levi’s own last book, The Drowned and the Saved, to offer a comparable text.


Breaking Point, by Jacob Presser
Cleveland and New York: The World Publishing Company, 1958

Broken Images: A Journal, by John Guest

Coverr of first U.K. edition of 'Broken Images'

Despite all the exhortations to stop and smell the roses, that what matters is the journey, not the destination, I tend to read in something of a rush, mindful of the ever-growing stack of books that still beg to be read and rediscovered. It takes an exceptional writer to subdue this inclination and get me to take a work at his or her own pace.

I took John Guest’s Broken Images: A Journal (1949) along on a recent trans-Atlantic flight, figuring I’d have time not only to finish it (it’s just 220 pages long) but to get through some work-related reading as well. Instead, I spent the entire flight, along with the next leg of my trip, reading it — not because it was a struggle but because Guest’s writing is so superb I wanted to enjoy every sentence.

At the time that World War Two broke out, John Guest was in his late twenties, working in a publishing house and wandering rather aimlessly into his future. He didn’t rush to enlist but was inducted into the Royal Artillery in May 1940. Broken Images opens with a journal entry written–quite against regulations–on his second day in the Army, and continues until his separation five years later, in October 1945. Many of the entries were sent to the poet and lyricist Christopher Vernon Hassall, with whom Guest served on an anti-aircraft battery stationed near the London dockyards.

When Broken Images was first published, the Spectator’s reviewer wrote that “It will be surprising if the last war produces a more rewarding set of personal impressions than the journal of Mr. John Guest.” What’s remarkable, though, is that I would never think of recommending it as a great war book. True, it is all about Guest’s experiences during the time he served in the Army, and he did experience combat first-hand in North Africa and Italy — where some of the most hard-fought battles of the war took place.

But its finest characteristic is that of a sensibility to life that never, despite all the drudgery and monotony of Army life and all the strains and fatigue of combat, seems anything less than fresh and alert. Here, for example, is an early observation from his first month in uniform:

But doing guard also has its pleasures. It is the only time when one is really alone. It is lovely, too, on warm starlit nights. Another pleasure, relatively new to me, is to see the dawn and hear the birds’ chorus; shortly after the sky has paled, one bird emits a sleepy note — do you remember that magical verse in “Tears, idle tears”:

Ah, sad and strange as in dark summer dawns
The earliest pipe of half awaken’d birds …

–and within two minutes every bird in creation is singing wildly.

Guest loved poetry and nature. He notes the flowers, bushes and trees wherever he is, knows the names of most of them, and often remembers a line or two of verse they inspired.

While he wasn’t a model soldier, he was no slacker and was selected for officer training during his first year. Although he’d never had any association with the Army and felt no regret when he left it behind, Guest early on came to understand that his time in the uniform represented a personal transformation: “Something is between me and everything now. We seem to be breaking apart, diverging, but reality is on my side — vivid reality — while everything I used to be and do belongs elsewhere, connected to me only in memory, not it fact.”

Throughout much of the book “the war” seems to be a show playing on another stage. Guest does not deploy to a combat theater until he’s been in the Army for nearly three years. He spends far more time training, taking part in exercises, and waiting, and even when he is in within eye sight of the enemy, the fighting is more often incidental than intense. He apologizes, in fact, in one entry,

This is just to set your mind at ease in case you thought I was in the big attack. If you have been imagining me in the thick of battle, you would have laughed to see me this afternoon (or indeed most afternoons and evenings) sitting in a canvas chair at the edge of our olive grove — sleeves rolled up, dark sun-glasses, a book on my knee; listening to the birds and swatting flies with a grass switch. In front, the bank falls steeply away through a wood full of cyclamen, genista and honeysuckle, to a green valley below, and from where I site I can hear the stream that runs through it. But, apart from the occasional bang of guns, one wouldn’t know there was a war on.

Being far enough away from the front lines does not equate to enjoying the pleasures of peace, however. “You do not know what a country which has been fought over looks like,” he is careful to caution Hassall:

Everywhere the signs are unmistakable — one knows without thinking about the evidence. It is rather like one of those abandoned industrial areas at home; but here they are not abandoned; people are still living in them. Even if the houses are not in ruins, everything has a tired, disused look. Gates and hedges are broken. Rusting skeletons of vehicles lie in the ditches. Windows are broken. Roads in bad repair. The fields untended. Ground under trees or by the roadside all chawed up and rutted. Empty food tins. Trees cut down or splintered. Charred remains of fires. Human excreta. Broken drains, pools and floods–all the million and one things which should be mended, tidied, tended, buried or otherwise seen to, are left undone.

Guest never takes himself to be anything but a small cog in a big machine, and he often notes the tendency of the Army to grind everything down to an anonymous uniformity. Indeed, as he queues for one in the many steps involved in being processed out of the Army, he muses, “It was really a huge machine which had been churning away at top speed for six years…. All you had to mind was that you didn’t get nipped in the works.”

If there was one thing that most certainly didn’t happen to Guest, though, it was the sacrifice his individual sensibility. His eye was always alert to nuances of landscape, the life going on in the margins, and the endless human comedy. On leave in Rome, for example, he delights in the band playing in the lounge of an English officers’ hotel:

This consisted of three middle-aged Italians — two male and one female. One man played a huge sort of guitar-cum-zither which he held like a banjo and plucked. To the end of our stay I was absolutely convinced that it made no noise whatsoever, and that upon closer inspection it would transpire that the strings were made of elastic or wool. For all that, his gnarled right hand plucked and flipped with all the merriment in the world, and his left hand scrambled deftly up and down the wires.

I’ve already overindulged in the temptation to quote at length from Broken Images. It really is a deliciously well-written book that I have left riddled with dog-eared pages marking particularly fine passages.

About the time that Broken Images was published by Longmans, Green and Company, Guest joined the firm as a literary advisor, and he remained with the firm until his retirement. Aside from The Best of Betjeman, which he edited, Broken Images is the only book he published. It earned a mention in both Paul Fussells’ Wartime: Understanding and Behavior in the Second World War and Samuel Hynes’ The Soldiers’ Tale: Bearing Witness to a Modern War and was reissued in 1970 as part of Men at War, a short-lived series from Pen and Sword Books. It richly deserves to be brought back to print. In researching this post, I came across one review in which the reviewer gushed, “I enjoyed this book so much that it is difficult to avoid seeming over-elaborate in praising it.” I second that emotion.


Broken Images: A Journal, by John Guest
London: Longmans, Green and Company, 1949

The Dwelling Place, by Anne Goodwin Winslow

dwellingplace

As someone who just turned fifty-six, I take comfort in the example of late bloomers, and it was a delight to note that Anne Goodwin Winslow was 68 when she published her first book, The Dwelling Place, in 1943. Now, that’s not strictly true–she did publish a collection of her poetry, The Long Gallery, in 1925, at the age of fifty. But in the space of six years between 68 and 75, she managed to publish a body of work that compares well with what some others take a lifetime to produce.

Born on her family’s estate outside Memphis, Tennessee, she and her sisters were educated by their attorney father in a rather laissez-faire manner. He gave them the run of his library and encouraged them to spend long hours reading and thinking and talking about what they read. Then, when she was still a teenager, Eben Eveleth Winslow, a West Point graduate and captain in the Corps of Engineers, asked for her hand and off she went into the itinerant life of an Army wife. Their tours included Oahu, where Winslow oversaw the construction of Fort DeReussy and other fortifications, and Panama, where he built bases to protect the new canal. He became the Army’s expert on coastal fortifications, and his 1920 book, Notes on Seacoast Fortification Construction, can be found on the Internet Archive (link). Over a thirty year career, he rose to be the acting Chief of Engineers when the U. S. entered World War One in 1917 and led the enormous expansion of the Army’s ranks and facilities over the next two years.

When General Winslow retired in 1922, he and Anne headed back to Anne’s family home outside Memphis. There they oversaw the raising of cotton, fruit and nuts, pigs and cattle, and she began to write and publish her poetry. Winslow died in 1928. With both her children grown and out of the house, Anne settled into the graceful life of a dowager, with a steady stream of visitors to keep things interesting.

Her poetry was quickly accepted by such journals as the Atlantic and the North American Review, and she developed friendships with a number of literary figures, including Vachel Lindsay and William Alexander Percy. Allen Tate and his wife, Caroline Gordon, became particular friends, and the aging Ford Madox Ford came along for a visit while on his extended stay with the Tates as their house guest. In one of his very last books, Great Trade Route (1937), Ford described the Winslow home as antebellum menagerie, very relaxed, where, “… peacocks wandered nonchalantly in and out of the room, and it was quiet, and profuse, and hospitable.” Life there seemed “to run on wheels in a deep shade.”

The Dwelling Place is Anne Goodwin Winslow’s amused, affectionate, and poetic tribute to her home. Despite her many years away with the Army–“the antithesis of permanence”–it remained at the center of her emotional life: “I do not see how anyone can get along without at least one thing in his life that he can think of as being both intimate and permanent.”

Starting with a chapter on solitude, she portrays the house, the land, its people, animals, plants and visitors (living and spectral) over the course of a year through a series of loosely-connected sketches. Although absolutely at home in a way of life–with a grand mansion, a large garden full of magnolia trees and wisteria-laden trellises, and a cook, maid, groundskeeper and handyman–that was near its end, she was also a sophisticated woman, widely-traveled and read. She wrote one of the first articles about Rilke’s poetry to appear in an American journal and was comfortable reading and translating both French and German. When she reaches for a classical allusion or a line from Keats, it’s always at her fingertips.

As a result, there is an elegance and grace throughout The Dwelling Place that makes one wish for the opportunity to have spent some time as Anne Goodwin Winslow’s guest.

She herself wondered, however, why people came to her home seeking a “quiet” week in the country:

How did the idea ever get abroad that nature is given to tranquility? A certain amount of self-restraint is necessary for tranquility, and nature has none. She is all out and total about everything, and noisy besides, and peace, I should say, is about the last thing on the list of her requirements–or solitude. Nothing in nature wants to be alone for one breathing instant, and everything that has a voice is perpetually lifting it up in desire or bereavement, with overtones of threat or challenge, and whinnyings for help–our own unrest made audible. I have grown so suspicious of nature’s motives as expressed in sound that only the accidental, frictional noises–wind rustling the leaves or water slipping over stones–gives me a feeling of repose. I made up my mind long ago that nobody who has had much sorrow, or even too much happiness, should ever go to the country to forget about it.

Writing during America’s first full year in the Second World War, she is quick to acknowledge that, compared to hers, “life has been so shot up to pieces for so many people that I would hesitate to speak again of any bombs that fell on mine.” She doesn’t claim that what she has created is a good book, one that will offer “present help in trouble,” but she credits the effort for its therapeutic value: “… maybe only those who write have learned the saving power that lay in many a poor one.”

She also questions her ability to venture into the realm of fiction: “I doubt very much if I could write a novel, but I would be willing to try for the sake of all the dear people who like to worry over me.” Ironically, the act of writing The Dwelling Place must have released hitherto-unrecognized creative energies, for over the course of the next five years, Anne Goodwin Winslow was to publish five books of fiction: A Winter in Geneva and Other Stories (1945); Cloudy Trophies (1946); A Quiet Neighborhood (1947); Springs (1949); and It Was Like This (1949).

goodwinslowhouse
The pace of her writing slowed down considerably after that and her published works were limited to a few short stories and poems. She died in late 1959 at the age of eight-four, and was buried with her husband in Arlington National Cemetery. You can find their grave records here. Her family home, known as Goodwinslow, still stands (see coordinates in Google Map) and is listed in the National Register of Historic Places (see entry).


The Dwelling Place, by Anne Goodwin Winslow
New York City: Alfred A. Knopf, 1943

Philosopher’s Holiday, by Irwin Edman

irwinedmanDespite the fact that he was born and raised within a few blocks of Columbia University, graduated from it, and spent most of his professional life as a member of its faculty, Irwin Edman was very much a citizen of the world, and Philosopher’s Holiday (1938) is a delightful anecdotal account of some of his favorite places and people in that world. In fact, his outlook could be summed up in the words of a veterinarian in southern France who befriends him: “There is only one country–it is that of people of intelligence. Its citizens are few; they should be acquainted.”
philosophersholiday
“A professor of philosophy studies philosophy; a philosopher studies life,” Edman writes in this book, and there probably haven’t been many professional philosopher/academics who were as ready to jump feet-first into life. In one of the chapters in this book, Edman receives a fan letter from a sailor named Jewell V. Jones stationed at the Brooklyn Navy Yard. Respectful of an inquiring mind regardless of the social status of its holder, he corresponds with the young man and winds up taking him to his first encounter with classical music at Carnegie Hall. “Boy!, that Wagner certainly could whoop it up!” Jewell remarks after hearing the overture to Die Meistersinger. “Do you think we could get him to play it again?”

Edman is too curious to stick to a set itinerary, and the lack of a particular design to Philosopher’s Holiday shows it. There’s chapter on the role music has played in his life, another one recalling some of the teachers who most influenced him, and a third recalling a debate he had with a director of the I. G. Farben company–an ardent supporter of the Nazis–on the veranda of a hotel near the ancient Greek temples in Agrigento. He encounters the Islamic worldview in conversations with Syrian students during a stay at the American University in Beirut. And, in one of the most enjoyable chapters in the book, he recalls growing up in Manhattan–discovering the varieties of vaudeville, learning to love Childs’ Restaurant, figuring out how to avoid being mugged for his pocket change by neighborhood gangs.

childsrestaurant

Philosopher’s Holiday was something of a best-seller when it was published, so you can find dozens of copies for sale for less than five bucks. He wrote something of a sequel to it, Philosphers’ Quest (1947), which also easy to locate. You can also find his 1939 book, Candle in the Dark: A Postscript to Despair, on the Internet Archive.


Philosopher’s Holiday, by Irwin Edman
New York City: The Viking Press, 1938

Time Stood Still: My Internment in England 1914-1918, by Paul Cohen-Portheim

Paul Cohen-Portheim, 1931

“This book tells of the experiences of a German civilian interned in England,” wrote Paul Cohen-Portheim in the preface to Time Stood Still: My Internment in England 1914-1918, “and it is the author’s aim to describe nothing except what he actually saw and experienced.”

This understatement is both typical of Cohen-Portheim’s remarkable humility and an utterly inadequate synopsis of this remarkable book, for Time Stood Still is, in its way, a monument of humanism–the cosmopolitan, cultured, enlightened humanism exemplified by Stefan Zweig, Jules Romains, Thomas Mann and others–that flourished in Europe until exiled or exterminated by fascism. Countless times while reading this book I was awed by the depth and character of the author’s perspective.

Born in Berlin of Austrian parents, Paul Cohen-Portheim was educated in Geneva, took up painting, and was living in Paris when Archduke Franz Ferdinand was assassinated in June 1914. Despite the increasing rumors of war, he carried on with his life and traveled to England to spend a few weeks with friends in Devonshire. When England declared war on August 4th, 1914, he found himself stranded: “My flat and my belongings were in France, my relations in Austria and Germany, I myself with summer clothes, painting materials, and £10 in an England one could not leave.” The next day, he discovered he was now an “enemy alien.”

For the next ten months, he lived in a sort of limbo, unable to leave England, unable to move from one location to another without official permission, unable to hold a job legally. He joined with other expatriates to form a makeshift opera company and busied himself with sets and costumes until, on May 24th, 1915, he received notice to report to the local police station the next morning to be interned.

“What shall I pack?,” he asked the policeman. “I would pack as if you were going for a holiday,” the man replied. And so Cohen-Portheim loaded his luggage with “white flannels, bathing things, evening dress, etc..”

He and several hundred other German and Austro-Hungarian men between the ages of 18 and 65 were loaded into railway cars and then ferried to the Isle of Man, where they were interned at Knockaloe, which was the largest camp set up in England during World War One. A few months later, however, he and about sixty other inmates, considered by the British to be “gentlmen” were transported to a new camp in Lofthouse Park, near Wakefield in West Yorkshire. Here he was to remain until mid-1918, when he was sent to the Netherlands to await the end of the war in another form of limbo.

To the authorities responsible for setting up Lofthouse Park, “a gentleman was a man prepared to pay ten shillings a week to them for the privilege of being there.” Cohen-Portheim had been able to contact his mother in Vienna and set up a weekly allotment while at Knockaloe, so, like the other inmates of the camp, he was able to order books and art supplies and to pay for sundries at the camp store. He was able to obtain more suitable clothing, and, as this picture from the Wakefield libraries collection shows, to dress in a manner befitting a gentleman. Other than being confined to the camp, served tasteless but adequate food, and mustered multiple times a day to be counted, he was largely left alone by the authorities and guards.

wakefield

“Were you treated well?” friends asked him after the war. Cohen-Portheim’s response was carefully qualified: “I am not prepared to say what British treatment of prisoners of war or of interned civilians was–fair, correct, brutal, inhuman, indifferent–I can only speak of my own experience,” and that was that the treatment was “standardized.” He understood that internment was politically motivated, moderated entirely by public perceptions of the treatment of British internees in Germany, and bureaucratically administered.

This was the first war in which there was large-scale confinement of enemy civilians, and the lot of those in England was far better than that of their counterparts in France (as recorded in Aladar Kuncz’s 1934 book, Black Monastery). But, in Cohen-Portheim’s analysis, it was still a brutal and cruel system. Its inhumanity was not based on physical abuse or deliberate psychological mistreatment, but on a more fundamental truth: this was not how humans are meant to live.

Take, for example, the factor of time. Cohen-Portheim chose his title carefully: “One must remember that there was absolutely no limit to be foreseen to the duration of the war and of my imprisonment, not could one know to what one would then return, if one lived to return to anything.” The inmates were well aware of the events going on outside the camp, the progress and set-backs of each side in combat, but they were frozen in time. “The past was dead, the future, if there should be a future, was a blank, there was nothing left but the present, and my present was the life of a prisoner.” This condition was, in his view, unnatural: “where there is no aim, no object, no sense, there is no time.”

Yet it was not the fact of being imprisoned that made the experience horrible. “What was horrible was that one had ceased to be an individual and had become a number.” Any decisions made about the conditions in the camp were made based on an abstract concept of the enemy alien prisoner, and not on any aspect of his individual actions or nature. Cohen-Portheim saw this as a fundamental effect of war: it creates “an abnormal state in which no one can be honestly considered responsible for his actions.”

The obliteration of personal responsibility “undoes what education has built up in years of struggle, or rather in many centuries of effort.” This observation illustrates the particular perspective evident throughout the book. Cohen-Portheim upheld the humanist ideal of man as a rational being with a free will moderated by morality and empathy. And the fundamental crime of internment is that it is inhuman. The fact that the camp population was of such a narrow demographic–male, upper class, German or Austrian, adult, with no women, no children, no other nationalities or classes–by itself made the situation inherently abnormal.

But there was also, “no privacy, no possibility of being alone, no possibility of finding quietude.” The men were cooped up together 24 hours a day, day in and day out, with no end in sight. Because of this, “The worst tortures of camp life were due to the small failings of one’s fellow creatures everlastingly in evidence, and to unimportant little tricks endlessly repeated”:

It is not the men of bad character or morals you begin to hate, but the men who draw their soup through their teeth, clean their ears with their fingers at dinner, hiccough unavoidably when they get up from their meal (a moment awaited with trembling fury by the others), the men with dirty hands, the man who will invariably make the same remark (every day, year after year) as he sits down–and who is quite an inoffensive good-natured soft of creature otherwise–the man who lisps, the man who brags,, the man who has no matter what small defect or habit you happen to object to. You go on objecting quietly, for one does not quarrel about such silly trifles, and the thing gets on your nerves, becomes unbearable by the simple process of endless repetition, until you hate the cause of your torture with a deadly hatred.

“Such an atmosphere is thoroughly poisoned,” he concluded.

What is most impressive about Cohen-Portheim’s account of his experience, however, is that despite all of these wrongs, he could write, “I cannot honestly say that it has harmed me.” Indeed, his time at Lofthouse Park turned his passion from painting to writing, and one of his books, The Message of Asia (1934), was based on material began in the camp. He saw himself as an exception case, though, and was careful to caution in his preface that this must not “induce my readers to think that I call good what in itself is evil.”

After the war, he became a journalist and travel writer, and published such books as England, the Unknown Isle, The Spirit of France, and The Discovery of Europe. Time Stood Still was published in 1931, and like W. V. Tilsley’s outstanding novel, Other Ranks, published the same year, suffered from critical and popular weariness over war memoirs. The Saturday Review’s reviewer dismissed the book as “a ‘document’–by which I mean a piece of writing what has not quite succeeded in becoming literature.” Looking back on Time Stood Still from a distance of eighty years, however, I would place it on a shelf with some of the finest pieces of writing about life behind barbed wire.

You can find a length set of excerpts from Time Stood Still, about his time at Knockaloe camp, on a website devoted to the Isle of Man, at http://www.isle-of-man.com/manxnotebook/fulltext/tst1932.htm. There are no copies currently listed on Amazon and only about a dozen, starting at $37, Internet-wide, according to Add-All.com. However, his travel book, The Spirit of London, first published posthumously in 1935, was reissued by Batsford in 2012.

Update: “Enemy Aliens,” a long piece by Andrea Pitzer, author of The Secret History of Vladimir Nabokov, on Cohen-Portheim’s experiences during the war and his interment, appeared in the Winter 2014 issue of Lapham’s Quarterly.


Time Stood Still, by Paul Cohen-Portheim
London: Duckworth, 1931

In Search of Myself, by Hans Natonek

Hans Natonek, Paris 1939About a year ago, I posted a short item on Hans Natonek’s In Search of Myself, his account of his experiences as an exile from Nazi-occupied Europe coming to grips with a new life in America. At the time, there were no copies of this book to be found for sale on the Internet, and that’s still the case today.

However, thanks to my son and his access to the great resources of the University of California Library system, I was recently able to borrow a copy and can supplement the reviews I quoted on the original note.

In Search of Myself opens with Natonek and his fellow refugees awakening from their rude beds in the hold of a ship arriving in New York Harbor from neutral Lisbon. The time is somewhere in the fall of 1940.

As we learn, Natonek was one of a number of German and central European writers who fled to France in the late 1930s to escape Nazi persecution. Then, when France fell to Hitler in June 1940, they were uprooted again. Some of Natonek’s friends, such as Ernst Weiss, lost all hope and chose suicide as their escape. Natonek, like Lion Feuchtwanger, made it to Marseilles and were able to link up with Varian Fry, whose Emergency Rescue Committee was able to secure passages to America for over two thousand artists, writers, and others marked for capture by the Nazis.

Natonek did not regard America “as a kind of umbrella under which I may huddle until the storm is past.” He was convinced from the very beginning that it could only be a temporary refuge: it would either join the fight against Hitler or find itself another victim. His frustration with the isolationist view of America as a haven made safe by the Atlantic comes up again and again until the attack on Pearl Harbor brings the US into the war.

A street in lower Manhattan, 1942. From the Charles W. Cushman collection (Archive ID P02677)

He arrived with just four dollars in his pocket and a few vague references. He had no plan for how to survive, and the first fifty-some pages of the book, which describe his first two days in New York–walking around Manhattan, eating in a drugstore, encountering orthodox Jews on the Lower East Side, discovering the cheap hotels in the Bowery where a quarter bought one night in a bed in a room full of other dirty and drunken men–are the most vivid and exciting in the book.

He struggles with a language he knows very little of:

The business of making oneself understood with a minimum vocabulary has a charm of its own, particularly for a man who has made the use of words his métier. I had delighted in the splendor and the ornate richness of my native tongue. I reveled in its abundance, squandering it in intricate expression. Now I found a sober joy in economy, building what words I had into simple patterns solid with meaning. At first I tried self-consciously to carry out this feat. Then, as I embarked upon the vast sea of my subject, my few words began to fail. How could I bail the sea of sorrow with the thimble I had?

While Natonek was early on filled with admiration for the optimism and opportunities of America, he did not consider himself a candidate for a starting a new life from scratch. His counselor at the National Refugee Service quickly dismisses his hopes to continue working as a writer, surviving on the meager $18 weekly allowance provided by the service. “I hope you will not persist in your attitude. Writing is a hobby ….”

Natonek, however, considered it full-time job requiring the most intensive commitment of himself: “To learn a new language at fifty, to learn it intimately as a writer must know it, is, of itself, an almost superhuman undertaking. For only by making the language a part of myself shall I ever succeed in expressing not only what I am, but what I have seen.”

In the end, he is forced by circumstance into a rough compromise. He works a variety of small jobs, often getting fired for incompetence within the first few days, but making enough to eke out a survival and still find time to begin writing a new book in the Reading Room of the New York Public Library. He makes a few friends and eventually manages to speak with a literary agent who takes a sample of his new diary and encourages him to carry own.

He connects with Anna Grunwald, an acquaintance from his time in Paris, and through her is able to travel outside New York. The size and openness of America thrills him:

The road unwound like cotton from a spool. I imagined it leaping onward, Nebraska, Nevada, Arizona, Wyoming. … It was not necessary to plan this trip or any trip within the confines of this country’s boundaries. You could cross a line and never know that you had entered a new state.

The money I had in my pocket would buy the necessities of living from the Atlantic to the Pacific. There was not a hot-dog stand, a soda fountain, or a tourist camp that would not welcome me. The political ideas in my head were my own business.

Will I ever become accustomed to the wonder of these things?

He continues to scrape by, however, stumbling from job to job, until he accepts, sight unseen, a position as porter working in the morgue of Harlem Hospital. It is while there that he finally hears back from his agent, who has managed to land a contract for his American diary: this book.

Natonek married Anna and took U. S. citizenship in 1946. Although he wrote, late in In Search of Myself, that, “One day, perhaps, if God grants me another year, I will stammer a book in English,” he never did. Nor did he ever publish a new book in German, despite attempts, after the war. He died in Tucson, Arizona, in 1963.

The novel he refers to working on throughout the book, about the life of Gilles des Rais, companion-in-arms of Joan of Arc and a notorious child killer, was published posthumously in 1988 as Blaubarts letze Liebe (Bluebeard’s Last Love). Just a few months ago, Lehmstedt, a German publisher, released a collection of Natonek’s short pieces, Letzter Tag in Europa: Gesammelte Publizistik 1933-1963, along with the first biography, by Steffi Böttger, Für immer fremd (Forever Foreign or Forever an Outsider).

Sunwise Turn: A Human Comedy of Bookselling, by Madge Jenison

Cover of first U. S. edition of 'Sunwise Turn'
“Separated from Fifth Avenue by about a hundred feet of sidewalk, but by an immeasurable difference in atmopshere, is the shop that most booklovers have dreamed of, a place in which to meet old friends in books and to discover new ones, to browse alone by an open fire, or to discuss your literary hobbies–and incidentally, but never obtrusively, to purchase books you really want.”

So opens a profile of the Sunwise Turn bookshop published in the Independent magazine in 1916. At the time, the shop had been open for just a few months, and though it was to close about ten years later, it had a significant impact on both American bookselling and American culture.

Sunwise Turn: A Human Comedy of Bookselling, published in 1923, is an account of the shop’s first few years written by Madge Jenison, who founded it along with Mary Mowbray-Clarke, wife of the sculptor John Frederick Mowbray-Clarke.

Jenison and Mowbray-Clarke were, like many novice entrepreneurs, long on enthusiasm and short on common sense. They took an evangelical approach to bookselling. For them, the shop was more than an outlet for merchandise–it was a way to inform and expand the awareness of their customers. “Our function was to pass on what had been nobly created, to see that it circulated, instead of lying lost in a dust heap to keep the wind away.”

And they were not interested in mass marketing. Indeed, their first notion of a target customer base was “fifty patrons who bought $500 worth of books a year.” With this in mind, they started to build their collection: “The first day we went out to order our stock we bought everything that we liked and everything that we especially wanted people to read.” This included a hundred copies of Hunting Indians in a Taxcab, a slim 1911 comic piece by Kate Sanborn about collecting cigar-store Indians. It was an utter flop.

Sunwise Turn is something of an early forerunner of contemporary gospels of entrepreneurship such as Paul Hawken’s Growing a Business. She describes how the care they put into every aspect of the shop: not just the books it carried, but its location, its decor (“We intended the room to look like a place in which you could read a book,” not a “denaturalized warehouse room”), its packaging, and what today one would call its corporate image (although that statement probably sent Jenison spinning in her grave). They also published about a dozen or so books, most of which can now be found on the Internet Archive, under their own imprint, including a study of the sculptor Rodin written by Rainer Maria Rilke.
sunwiseturn_illustrations

Were Jenison around today, she might be considered a subscriber to the tenet, “Do what you love and the money will follow.” In a discussion on advertising, she writes,

The chief factor in making a thing known, outside of the forced methods of advertising, seems to be to make it honest in the best sense–something of your own, and alive, and not drawn from the general vat of experience. Only give the world something with character to talk about, and it will carry your name to sunset.

On the other hand, toward the end of the book–written, to be precise, before the shop went out of business–Jenison discusses various practical and economic aspects of bookselling, but notes: “Nobody knows much about bookselling. It is a trade in which there has been little constructive research.” She advocates for an analytical approach to the business that would take more of the risk off the bookseller’s back. However, as even the experience of Amazon has shown, no matter how much data about customers’ interests and behavior you gather and crunch, reading and book-buying is still rife with failures and serendipitous successes.

The shop’s name, by the way, came from an anecdote that Amy Murray later included in Father Allan’s Island, her 1920 book about the people and culture of Eriskay, a small island in the Hebrides. “They do everything daesal (sunwise) here, for they believe that to follow the course of the sun is propitious. The sunwise turn is the lucky one.”

Sunwise Turn is still something of a dangerous book. Reading it will almost certainly lead to fantasies about opening one’s own version of the Sunwise Turn bookshop: Do not attempt this trick on your own, however.


Sunwise Turn: A Human Comedy of Bookselling, by Madge Jemison
New York City: E. P. Dutton & Company, 1923

The Passing of Pengelley, from Blow the Man Down! A Yankee Seaman’s Adventures Under Sail, by James H. Williams

blowthemandown“The Passing of Pengelley”, by James H. Williams
from Blow the Man Down!A Yankee Seaman’s Adventures Under Sail, by James H. Williams and edited by Warren F. Kuehl

First published in Seafarer and Marine Pictorial, II (February 1922)


We lay three months in the port of New York discharging and loading cargo and repairing the hull and rigging of the Late Commander before we sailed again for Calcutta in May of 1887. Two months later, on the fifteenth of July—midwinter in the Southern Ocean—we rounded the boisterous Cape of Good Hope and began circling boldly away toward the forty-sixth parallel to begin running our easting down.

A week later, we were in the midst of our great easterly sweep toward the eighty- fifth meridian. The prevailing westerly winds peculiar to the zone had gradually increased in force and the sea had risen, so that now we were scudding through the tumult and smother of a mighty gale at a seventeen-knot gait. We were swinging three whole topgallant sails with preventer backstays set up and preventer braces on the cro’jack yards. Running with squared yards and everything bar taut, there was not much to do except relieve watches and stand by for emergencies.

For three consecutive days during this superb run, the old ship made a glorious record—over a thousand miles with five thousand tons of case oil as cargo in our hold. Here is an authentic sailing item for amateur sailors and deepwater yachtsmen to ponder over.

On the second day of that great run, we passed two British-Australian mail steamers. Both were high-diving until the crests of the seas threatened to flood their boiler rooms through the funnel tops. Their propellers churned wind oftener than water.

We were running with an old-fashioned log at that time—a canvas bag and a wooden plug trailed by a sticky line wound on a wobbly reel and held unsteadily aloft by a lurching seaman and timed by a sleepy apprentice with a worn-out sand glass. An honest taffrail log would have recorded us at least eighteen instead of the miserly fourteen-odd knots we were credited with. But sailors never were noted for doing anything remarkable except drinking rum and chewing tobacco.

On the third day of the big run, the wind had attained almost hurricane force, and the sea had risen to mountainous heights and fearsome aspect. Our grand old ship, however, carried on nobly and showed not the slightest symptoms of weakening or distress.

That night of Good Hope I shall never forget;
Ofttimes I look backward and think of it yet,-
We were plunging bows under, her courses all wet,
At the rate of fourteen, with to’gallan’ s’ils set.
So we’ll roll, roll, bullies,
Roll as we go,
For the kidapore ladies
Have got us in tow!

At four in the afternoon, before changing watches, the Old Man ordered the mate to take in the fore- and mizzen-topgallant sails since, as he declared, the ship was dragging instead of sailing. It had reached the limit of its sailing power, and the surplus canvas was now a hindrance rather than a help. As soon as ‘we had mustered watches, the order was given; clewlines, buntlines, and leechlines were manned fore and aft at the same time. In just twenty minutes, the two big kites were taken in and snugly stowed. The Late Commander carried a noble crew. As soon as we had the ship shortened down to a whole main-topgallant sail, the port watch was sent below and the watch on deck was left to clear up the tangle of loose gear washing about the deck and trailing overboard through the scuppers.

The ship continued her racing gait with no apparent slackening of speed after shortening sail, and she rode much easier and made better weather of howling winds and driving sea. When the starboard watch went below at four bells for the second dogwatch, the ship was high-diving and wallowing through the thundering seas at a terrific pace.

According to the common plan in British ships, the Late Commander’s forecastle was directly beneath the forecastle head, with two doors at one end, the hawsepipes at the other, and a massive patent windlass in the center. After our Act o’ Parliament supper of hardtack, “strike me blind,” and “water bewitched” had been disposed of, we lighted our pipes and gathered around the big windlass for our usual dogwatch smoke session and yarn-spinning contest.

We were a motley bunch of weather-beaten, hardened sailors, every mother’s son a typical man-Jack. Lords of the gale, we reveled in our manhood and our strength and knew no hardship except the misery and degradation of being too long ashore. The British element naturally predominated among us, not because the ship was British, but simply because the voyage had originated in England nearly four years before. All of the original crew had not yet been seduced into desertion by the crimps in the various ports. Still, the inevitable vacancies had had to be filled from time to time until now more than half of our foremast complement of twenty-two A.B.’s was non-British seamen. Only four of us, collectively known as the Yankee Squad, were native Americans.

Seated around the forecastle in various easy and careless attitudes, we were surely an uncouth and unearthly looking group that might have descended from some remote planet and been sent away into these desolate and uninhabitable solitudes where nothing but blowing whales and pinioned sea birds could find contentment or natural sustenance. All of us were fully clad in the height of the prevailing fashion—sea boots and pea jackets, with oilskins and sou’westers ready» on hand in case of an emergency call.

Ever since the mutiny at the Nore, a national superstition has prevailed in British ships, both naval and commercial, against striking seven bells in the second dogwatch and rigging the gangway out on the port side. When four bells terminates the first dogwatch at six P.M., the chimes begin with one bell again at six-thirty, two bells mark seven o’clock, and three bells are struck at seven-thirty. Then the usual intermediate one bell at a quarter to eight warns the watch below to turn out and get ready. The final stroke of eight bells ends the dogwatch and calls all hands on deck to muster at the mainmast.

It happened to be Saturday night, and just before three bells young Pengelley came splashing forward through the deck swash to visit the sailors. Pengelley was as welcome as a Christmas morning, for every man among us adored the big handsome young Cornishman. The entire watch arose as one man to greet him and offer him the place of honor in our midst as he pushed his way in. Of course, it was contrary to both rule and tradition for apprentices to associate in quarters with “common” sailors, but no one, not even old Cap’n Grummitt himself, ever thought of reprimanding Pengelley.

Like many other high-minded but hardheaded men, Pengelley’s father, being an officer in the Royal Navy, had insisted upon a sea career for his son even though the sensitive lad was unfitted by natural impulse and predilection for the hardships and drudgeries peculiar to the maritime service. Pengelley was a born scholar. He was studious, book-minded, and thoughtful rather than practical.

He was as much out of place among a windjammer’s crew as a marble statue in a farmer’s bamyard. Nevertheless, Pengelley was the light, the life, and the pride and ennobling influence of our whole ship’s company. We needed someone better, nobler, nearer the unknown unattainable than our miserable selves. That was why we all adored Pengelley. He never needed to do any sailorizing; we could do all that!

Politely but positively declining any of the vacated seats around the windlass, Pengelley stripped off his dripping oilskin coat and spread it over the horn of the windlass to drain. Then loosing his big woolen lammie at the throat, he stretched himself at full length in precarious comfort along the running board fronting the lower tier of bunks. The strait-laced restrictions of quarter-deck discipline evidently bored him, and he appreciated the homely good will and natural levity of us “common” sailors.

He seemed to be in unusually high spirits that night. His blue eyes twinkled with suppressed mirth and his chestnut hair glistened in the flickering light of the spluttering slush lamp. Although the constant lurching and diving of the ship rendered his recumbent position on the bunkboard somewhat insecure, Pengelley seemed to enjoy the situation. He began describing, with witty embellishments, some of the amusing mishaps to officers and crew which he had witnessed during the day.

The resonant clang of three warning strokes on the big watch bell directly over our heads interrupted his amusing recital and created an uneasy stir among the tired seamen. The short and comfortless dogwatch was nearing its close and we would soon be called on deck to wrestle with the warring elements again until midnight.

“Sing us a song, Pen, before the watch is called,” shouted Spike Riley. “Sumpin’ sad an’ sentimental; sumpin’ with a chorus so’s we kin all jine in an’ blow th’ wind. Ain’t no ladies present, ye know,” the old vagabond reminded us with an artful grin, “so we kin make all th’ noise we’ve min’ ter ‘ithout disturbin’ enybody’s nervous systim.”

“Let ’er go, Pen,” piped half a score of eager voices. “Order for a song! Go ahead, Pen. Sing ’er up.”

Always willing, Pengelley at once responded to our request. He broke into the opening verse of the sailors’ love song, “Anchor’s Weighed,” with all the entrancing vigor and glorious fervor of his marvelous voice. As verse after verse rolled out in perfect rhythm and soulful expression, the whole watch would take up the simple and appealing refrain with boisterous enthusiasm, our combined voices ringing and rising above the roar and thunder of the storm, the thousand deck noises, and the raging sea.

Our evening song ended in salvos of wild applause, and at the stroke of eight bells we donned our coats and hurried out on the deck. The night and the sea had assumed truly fearsome aspects. The heavy black wind bags that dominated the sky and shut out the light of heaven had settled over all apparent creation with appalling completeness. The night was as dark as a bottomless pit. Only the phosphorescent gleam of the breaking sea crests and the iridescent and fleeting glow of the splashing side wash afforded an occasional and flitting glimpse of the loom and tension of the bulging sails. The big westerly wind had settled down into a continual, monotonous, bellowing roar. The whitecaps were flecked angrily from the summits of the racing seas and lashed away in great windrows of gleaming spindrift that spread like driven snow flurries in the pathway of the rushing waves.

But everything on the ship held even though the storm seemed to have attained its maximum intensity. So, except for some untoward accident during the night, prospects seemed good that the ship would be able to carry on until morning.

When all hands had assembled at the main fife rail, Tom Splicer communicated the fact with the usual announcement, “Watch is aft, sir.” Then, after a brief interval of uneasy suspense, came the welcome, though slightly amended order and admonition: “Relieve the wheel and lookout. Two A.B.s at the wheel. That’ll do the watch. Stand by for a call.”

That the afterguard was feeling suspicious of the weather and preparing for trouble was quite evident, but it never pays to borrow trouble or spoil your peace of mind either by tragic anticipations or vain regrets. If we could read the inexorable decrees of fate beforehand, the human race would soon become extinct because every individual on earth would break his neck trying to dodge the inevitable.

As soon as the port watch had been relieved and gone below, the starboard watch scrambled for various safety perches above the level of the sea-swept deck. Most of the crowd climbed to the little flying bridge over the quarter-deck and wrapped themselves in the idle clew of the mizzen staysail, which had not been hoisted in over a week. The lookout was kept from the break of the poop, but as

I was the “farmer” that watch, having neither wheel nor lookout coming to me, I climbed to the top of the forward house and stowed myself snugly away beneath one of the big boats lashed keel upward to ringbolts in the beam skids. Lying down with my head pillowed on the oaken skid with only my sou’wester for softening, I soon fell sound asleep, entirely oblivious to all my wild and fear- some surroundings.

I was awakened from my slumber by hearing my name called in ordinary and friendly tone. Had it been a watch call, I should have scrambled out in a hurry and shouted, “Aye, aye, sir.” But as it was, I simply stretched out my hand, more provoked than alarmed, and felt a presence I could not see.

“Is that you, Pen?” I asked, sensing the identity of my unexpected visitor.

“Yes, it’s me, Jim,” answered the young apprentice. “Do you like manavlins? I gave the steward a shilling for the dog basket after supper last evening. The small stores are getting smaller now, and we don’t get much better food in the half deck than you men do in the forecastle.”

“I know it, you young rascal,” I answered as I sat up and eagerly accepted a generous section of sea pie proffered me in the dark.

After I had gobbled the cabin leavings, we sat together in shrouded silence beneath the pitch-black darkness of the upturned boat. Roundabout and overhead and down beneath us thundered the tumult of ship noises and the storm—-the rush and roar and hollow reverberations of driving seas; the monotonous, insistent wailing of the wind; the chaotic crash and tumult of an occasional comber breaching the rail, staggering the ship with its sudden impact and stupendous weight and battering the hatch coamings with the fury of a cataract. Overhead, the screaming tempest held high carnival in the vibrant shrouds. Idle chain gear rattled discordantly against the reechoing spars of hollow steel. The groaning yards and creaking blocks and grinding gins and singing boltropes told the terrific strain imposed upon our flawless gear.

Below the heavy deck, responding to every lurch, the throbbing hull labored incessantly beneath the avalanches of water constantly thundering aboard. The submerged clatter of disgorging sluice ports, the hollow chortling of choking scuppers, the occasional pounding of spare spars and loosened deck fittings kept apt and fitting accompaniment to the surrounding tumult. Above the storm, the wind reigned triumphant over all.

“What time is it, Pen?” I finally inquired.

“Six bells went before I came forward,” he replied. “Jones is keeping scuppers on the poop, and I’m standing by to call the watch. The second mate has been ordered to make one bell at half past and get all hands out. We’re going to take in the topgallant sail before the watch is relieved. It’s blowing harder now and we’re edging to the northward to get out of the zone and into smoother seas. “

“Well, Pen,” I said cheerfully, “I guess I’ll jump down into the forecastle and try a drag at the pipe before we start gehawking again. A feed like that deserves a smoke for consolation.”

“Wait a moment, Jim,” urged Pengelley in a pleading tone as he laid a restraining hand on my oilskins. “I want to ask a favor of you.”

“Sing out, Pen. It’s already granted,” I exclaimed, startled by the sudden tenseness and appealing solemnity of his voice. “What can I do for you?”

“Jim,” asked the young apprentice seriously, “do you remember the evening we first met in Calcutta?”

“Certainly,” I replied. “That was a year ago when all our squad went up to say goodbye to Black Harry and Piringee Katherine.”

“Yes, it was a year ago—just a year ago tonight. Do you remember that I told you it was the third anniversary of my apprenticeship?”

“Why, yes,” I answered. “I do. I suppose you are trying to remind me that tonight is your fourth anniversary in the half deck. Your indenture expires at midnight and tomorrow you will be eligible for promotion to the quarter deck. From Calcutta you will be sent to London to pass examination’ for your new rating. Congratulations, old man!”

I found Pengelley’s hand and gripped it warmly in the dark. For a moment neither of us spoke. Then he broke the tense silence beneath the sheltering boatwith a startling declaration.

“Jim, I am not going to reach Calcutta; I shall never see dear old England again.”

“Say, what ails you, Pen?” I exclaimed, horrified by his suddenly changed demeanor and mysterious talk. “You’ve been worrying about something and your wits are going astray. Tell me about it. You know I’m a safe counsellor and even if I can’t help you perhaps I can share the burden with you and help, you bear the strain.” I was so profoundly shocked by Pengelley’s behavior that I sat still in mystified silence waiting for him to proceed.

“Do you ever become frightened when you’re aloft, Jim?” asked the boy suddenly, gripping my oilskins nervously as he spoke.

“Scared, you mean? No, of course not,” I asserted contemptuously. “The safest place on a ship is aloft, especially on a night like this. You’re out of the deck smother, clear of the wrack, and above your officers for the time being. And the wind don’t blow any harder upstairs than it does down here. But why such foolish questions, Pen? You aren’t afraid of anything, are you?”

“There is only one thing I fear, Jim,” replied Pengelley, “and that is disgrace. I’ve always been timid about climbing; it’s a natural weakness that I cannot overcome no matter how hard I try. For a long time, I thought the feeling would wear away by enforced habit and constant practice, but in that hope I’ve been sadly disappointed. Ever since the night poor old Barney Dent was flung from the main topgallant yard, I’ve been oppressed by an unspeakable horror every time I go aloft, especially on that particular yard. Sometimes the terror makes me sick and causes me to vomit while I’m aloft; and then the reaction causes me to vomit again after I am safely on deck.

“Of course, everybody attributes it to seasickness, which is really chronic in some constitutions. In a sense it is seasickness, Jim. It is not actual fright. It is simply my stomach instead of my heart that gets in my mouth at such times, and it could not happen anywhere else except at sea; but it is a condition I can no more avoid or overcome than I can stop breathing and live.

“I know you will consider me silly and superstitious,” he went on, “but I know I shall never see the end of this passage, and before anything happens I want you to promise that you will do something for me after–after you reach Calcutta.” He faltered at the conclusion of the sentence, and I knew that his feelings were overwrought.

Although I placed no credence in his premonition, I realized that it was useless to try to reason him out of it. If he had been an ordinary, simple-minded old sailor oppressed by silly seasaws and ancient superstitions against capsizing hatch covers, striking the bell backward, or sailing on Friday, there might have been some hope. In that case, if he could not have been reasoned or ridiculed out of his groundless fears, he could have been kicked or cuffed out of them or otherwise left to steep in his own ignorance.

But Pengelley was different. He was a broad-minded, widely read, well-informed young man. I had never known him to harbor spooks or mental hallucinations, nor was he a victim of melancholia. In fact, he had always been regarded as the most cheerful of the four apprentices.

“If it is as serious as all that, Pen,” I said, for I was becoming alarmed for his safety by this time, “you had better lay up for a few days or until we run into fine weather again and your nervousness subsides. I am sure Captain Grummitt won’t insist on ordering you aloft if your life is endangered by it.”

“Jim,” he declared firmly, “I can’t do that. The other apprentices would despise me and my father would disown me. Please keep quiet about it,” he pleaded in genuine alarm. “Simply do as I wish you to.”

“But, Pen,” I insisted, “you are the bravest boy I ever saw to live through a horror like that for four years just to gratify your father’s whim. I am sure he would have withdrawn your indentures long ago and had you sent home if he had been aware, of the facts.”

But Pengelley was obdurate. All I could do under the circumstances was to humor him and appear to acquiesce in his plans, for he was really laboring under a dangerous mental aberration. His designs would have to be humored in order to be circumvented. I therefore pretended to act in accord with his wishes, but mentally resolved to frustrate his quixotic fancies of filial devotion even if it meant incurring his everlasting displeasure. I inwardly resolved to try not only to have Pengelley relieved, but, if possible, prohibited from going aloft during the remainder of the voyage.

“Well, Pen,” I resumed, “don’t be downhearted. We’ll run into fine weather in a day or two and the danger will be over. Meanwhile, whenever we have to go aloft, you stick close to me. That will encourage you and I will always be there to lend a hand.”

“Thank you, Jim,” exclaimed the boy with grateful fervency. “But before we separate I want you to promise that in the event of anything happening to me you will send this box to my sister Eunice, at Saint Ives. She knows of you already,” he added, thrusting a package into my hands as he spoke, “because I mentioned you to her in my last letter home from New York.

“In this package,” he went on, “there is a camphorwood box containing some letters and photographs, some private papers and trinkets, and the gold watch my father gave me when I left home. I know that if I am missing all my effects will have to be accounted for by the captain and owners of this ship. But in that case they would likewise have to be inspected, and the contents of this box are too sacred for that.”

“You can get Miss Primrose, the little missionary in Calcutta, to help you. She knows me well and I believe she knows you also. She can manage to have the package sent for you by special dispatch. Under the canvas wrapper around the box, you will find a letter addressed to my sister. I want you to send it to her together with another letter to be written by yourself.”

“Well, I’ll take your orders, Pen,” I replied, “and all the more willingly because I feel certain I shall never be required to carry them out.”

Pengelley wrung my hand warmly. “God bless you, Jim,” he exclaimed. “And now I want you to accept these trifles as a token of our friendship.” With that, he thrust into my hand a heavy gold; watch guard with a solid gold anchor pendant attached as a charm. I recognized the pieces and appreciated their intrinsic value and artistic merit, for I had seen Pengelley wearing them on special, occasions.

It was nearing seven bells now, and Pengelley and I crawled from beneath the sheltering enclosure of the inverted boat and descended to the slippery surface of the main deck. Pengelley went aft to take the time, and I dove into the forecastle to secrete my precious charge before the watch was called.

Returning to the deck, I proceeded at once to locate some of my; watchmates and arouse them to the fact that another furling match was about due. I could not think of taking in that big main-topgallant sail, however, without feeling concerned over Pengelley’s tragic premonition. There was great danger to anyone working aloft in the Late Commander because of the complete absence of any beckets, grab lines, or saving gear of any kind on her yardarms. The harrowing lessons of three tragic casualties on the previously run had made no perceptible mark on the hearts or minds of those responsible. No effort had been made to guard against future tragedies. She lacked even the most basic lifesaving attachments on the yardarms. This deficiency, because of the great girth of her principal spars and the immense spread and heavy weft of her enormous sails, made the Late Commander an extremely hazardous ship to manipulate aloft.

I tried hard to invent some lubberly trick, no matter how base, to prevent Pengelley from going aloft that night, but I was at my wit’s end and could not think coherently. There was no time to weave a plot or to execute it if found. The stroke of one bell found me still struggling with my inward terrors and with no hope of any design. In a few minutes, both watches were out and Tom Splicer was splashing around the deck roaring orders to everybody below and aloft.

There was no general muster, but within a few minutes all hands were hauling away on the main-topgallant running gear. Clewlines, leechlines, buntlines, and downhauls were all manned at once and the massive topgallant yard came creaking down handsomely to the topmast cap. The voluminous canvas came floundering, fluttering, and thundering with a tremendous straining and baffling uproar against the mighty tension of the gear.

Amid the momentary excitement and general din, I ceased for a time to worry about Pengelley; and when the tautened gear had been belayed and the braces steadied, I was among the first to lay aloft in response to the imperious order, “Tie ’er up.”

Upon reaching the masthead, I assumed one side of the bunt, with Big Mac for a side partner. With a forty-foot hoist on a sixty-foot spar, it was no child’s task to bunt that main-topgallant sail.

Moreover, it was always a desperate job, especially when running square, because the yard was rigged with old-fashioned quarter clewline blocks, there were no spilling lines, and the buntline lizards on the jack-stays were entirely too long. This left large quantities of slack canvas with which to contend. Consequently, there was always an immense wind bag to smother when the sail was brailed up.

When the watch had mustered along the yardarms and the gaskets were cleared, the huge bag bellied and bellowed above our heads as tense and rigid as an inflated balloon. The wet and hardened canvas was as unyielding as chilled boiler plate. Taking advantage of a momentary wind flaw in a lucky backsend of the ship, we all grabbed the slightly slackened canvas and, shouting encouragement to each other, made a united and desperate effort to smother the big wind bag and strangle it up snugly to the jackstay.

But in the next dive, the clews filled away again. In spite of the desperate exertions of ten strong men, the sail burst away with an exultant bang. And then, in the extremity of common danger, I heard a faint, wild, despairing cry and felt an ominous slackening of the footrope beneath my feet. Instantly a fearful dread froze my heart. Where was Pengelley? Had he purposely eluded me in the darkness and brought about the terrible fulfillment of his premonition? Trembling at the harrowing thought, I returned to the hazardous duty before us; and, after a few more daring attempts, we finally succeeded in overpowering the raging sailcloth and bunched it up securely on the swaying yard.

After passing the tail stop of the bunt gasket to Big Mac, I clutched the convenient warp of the topgallant backstay and slid, like a plummet to the topgallant rail. As I leaped to the deck, I met Jones, the junior apprentice, a muffled and impersonal shape in the darkness. I recognized him by his voice, and he probably knew me by my hasty and vigorous actions.

“That you, Williams?” he inquired.

“Yes, it’s me,” I responded. “Who fell?”

“Pengelleyl He wants you,” he replied in a horrified tone. “They carried him into the cabin and the cap’n says he’s dyin’. He’s been callin’ for you.” The young apprentice subsided with a smothered sob, and I made my way with bursting heart to the cabin. I pulled the heavy teakwood door open without any preliminary knock and strode unceremoniously into the forward cabin. It was likewise the officers’ mess room; and there, bolstered up on a berth mattress on the big mess table lay the broken frame and tortured body of the dying boy.

At the head of the table stood Captain Grummitt, a chastened look softening his wooden features. Beside him stood the steward, striving awkwardly to minister to the last earthly needs of the passing spirit. Ranged alongside the mess board were four able seamen standing in reverent silence. They were the rescue squad that had brought Pengelley into the cabin. Above, in the skylight, the telltale compass wobbled unsteadily with the yawing of the ship; the marine clock in the alcove ticked the fateful seconds away with relentless beats; and outside the storm wind howled a mighty greeting to the departing soul.

As I stood near the entrance, sou’wester in hand, Captain Grummitt beckoned me to the side of my shipmate. Stepping quietly to the head of the table, I bent reverently over the dying apprentice and listened attentively to his labored breathing to catch any parting words.

Pengelley lay perfectly still for a while. His hands were cold as ice, his eyes partly closed, and his handsome features, now distorted by mortal anguish, were as white as chiseled marble. Only the painful and irregular breathing and the slight twitching of the pallid lips after each feeble gasp indicated that the spark of life still glowed faintly.

“Do you know me, Pen?” I asked, pressing his cold hand firmly in mine.

The dark eyes opened slowly and a slight flash of glad recognition illumined the pale features. The bloodless lips moved inaudibly and I bent closer to catch the whispered words.

“You’ll remember, won’t you, Jim? The package and the letter?”

“Surely, Pen,” I murmured hoarsely. “I’ll do all I have promised.”

“Thank you, Jim,” he faltered once again. ‘I’m glad—you—came. Now—I am—content.”

Then the weary eyelids drooped again over the fading orbs, the death pallor deepened to an unearthly whiteness, and for fully a minute the labored breathing ceased. Then, just as Captain Grummitt was about to make an inspection to detect any lingering spark of life, Pengelley’s whole body became suddenly convulsed by a raging spasm of supreme agony. His eyes opened wide, staring and sightless. His classical features were fearfully distorted in an excruciating horror of unutterable anguish. His head rocked violently from side to side and raised spasmodically from the pillow in an uncontrollable ecstasy of intense soul-racking pain.

“Lord! Lord! Help me!” he shrieked in the terrifying accents of mortal extremity, and with that great agonizing appeal a surging hemorrhage burst the internal barriers of life. The pent-up flood poured forth from mouth and ears and nostrils in crimson streams, the raised head fell back limply to the waiting pillow, the contracted features relaxed in a smile of ineffable relief, a parting sigh of weary contentment escaped the colorless lips, a settled attitude of eternal repose stole over the stalwart form on the table, and all was still.


Blow the Man Down! A Yankee Seaman’s Adventures Under Sail, by James H. Williams

In his autobiography, Living Again, Felix Riesenberg mentions that, during his time as editor of Seafarer and Marine Pictorial magazine, “I printed what I believe to be one of the outstanding sea stories ever written, ‘The Passing of Pengelley,’ by a sailor named Williams, a protégé of Hamilton Holt, the editor of the Independent.”

blowthemandownGoogling “passing of pengelley” and “williams” produced just two hits: one to Living Again, the other to the Google Books page for Blow The Man Down: A Yankee Seaman’s Adventures Under Sail, subtitled “An autobiographical narrative based upon the writings of James H. Williams,” a 1959 book edited by Warren F. Kuehl.

In his preface to the book, Kuehl describes how he stumbled across a collection of Williams’ manuscripts while researching a biography on Holt:

In style and story, it held me spellbound. Here were daring adventures, heroic deeds, and colorful descriptive passages. And here was the lure of a romantic age now lost save in our imagination.

From reading the pieces, Kuehl soon learned more about the writer:

He called himself a common sailor, but he was a most uncommon man. With little formal education, he wrote in a style which would embarrass many polished scribes. Although a self-confessed murderer according to his own account, he possessed a high sense of moral virtue which like an unseen hand directed his actions. Although a practical man who survived innumerable storms and two major shipwrecks, he was a romantic soul who instinctively sought out the ships of masts and spars in an age in which the merchant marine was making its transition from sail to steam, from Wood to steel. Within him, too, burned a reforming fever so intense that he became an uncompromising enemy of crimps, jackals, avaricious shipowners, heartless masters, and all who preyed upon the common seaman. And he labored with some success to achieve through unions and legislation the humane treatment and legal rights which he felt his comrades of the sea deserved.

jameshwilliamsHe was, Kuehl continues,

James H. Williams, Negro seaman with reddish hair and light-brown skin. He was born in Fall River, Massachusetts, on May 21, 1864, the son of James C. and Margaret Crotty Williams and, as he narrates in describing his family background and childhood experiences, went to sea at an early age. It was in 1897 that he first began to write about life in the old merchant marine. He was then thirty-three years old and had been a sailor for twenty-one years. Hamilton Holt, then the managing editor of the Independent, a prominent national magazine, opened the columns of his journal to Williams and subsequently prints over thirty articles and editorials from Williams’ pen.

As Williams writes in the first piece, “A Son of Ishmael,” his father was a black sailor, whose mother had been a slave, and his mother a white working-class woman from Fall River. Williams’ father rose to the status of pilot for a Long Island Sound line, and had ambitions of a college education for his son, but these ended with his death in an accident in 1870. At the age of twelve, Williams took to sea, bound to a shipmaster as a cabin boy.

By the time Williams went to sea, the great age of sailing ships was already coming to an end. Steamships were rapidly replacing sailing ships, and three-masters were being elbowed out of the most profitable routes. Although Williams was quite clearly a highly perceptive and intelligent man, for some reason he chose to stick with the older ships–a decision that relegated him to a series of rough, dangerous, and poorly-paid posts on ships plying secondary routes to such places as Bombay and Buenos Aires. Most of his jobs were on British ships, although he considered this “entirely the result of chance and not of choice.”

“I am proud of my hard-earned distinction as a maritime A. B. and of my lifetime of intimate and fraternal association with the ‘common’ sailors of the old merchant marine. No nobler or braver or more loyal, devoted and self-sacrificing martyrs than the merchant seaman ever lived.”

“The Passing of Pengelley” offers a dramatic illustration of the risks taken by these seamen. It describes the death of one of Williams’ shipmates, Alfred Pengelley, on the British ship, Late Commander, on a transit from Southhampton to Calcutta. As they huddle together on deck, sheltering from a terrific storm while standing watch, Pengelley confides in Williams that he has a crippling fear of climbing the masts and believes that he is destined to die from a fall. Pengelley’s premonition comes true that night. Williams then recounts his burial at sea and how the ship’s captains and owners then attempt to cover up the cause of the accident–the lack of proper safety attachments–and put the blame on Pengelley’s own negligence. It’s a vivid story that not only demonstrates the dangers of shipboard work but also Williams’ own advocacy of better working conditions and pay for sailors–a cause he championed both while at sea and later through his articles and columns.

The story illustrates why Kuehl is apt in comparing Williams’ writings to Richard Henry Dana, Jr.’s classic, Two Years Before the Mast. Both men were eloquent in conveying the drama and degradation of life as a working sailor, and both played important roles in organizing movements to improve their lot.

Ironically, though, at the same time that Williams began to write, the very organizations he was trying to support were making it more and more difficult for a black man to work as a merchant sailor. By the time he came ashore for good in 1910, it would have been difficult for him to get a posting as anything other than a cook or steward.

Williams’ time at sea took a considerable toll on his health. Although supported by Holt and others, he still had to rely on odd jobs on the Manhattan waterfront to get by. He collected his manuscripts and wrote an introductory foreword to them in 1922, hoping to publish them as a book. It was this collection that Kuehl discovered among Hamilton Holt’s papers.

In 1926, he retired to Sailor’s Snug Harbor a home founded in 1801 to give refuge to “aged, decrepit and worn-out” seamen. He died a year later after an operation to treat his throat cancer and was buried in the Sailor’s Snug Harbor cemetery.

A paperback reproduction of Blow The Man Down is available from Literary Licensing, LLC. for $32.95, but used copies of the original 1959 hardback can be found for a fraction of that price on Amazon and elsewhere.


Blow The Man Down: A Yankee Seaman’s Adventures Under Sail, based upon the writings of James H. Williams, edited by Warren F. Kuehl
New York City: E. P. Dutton & Co., 1959

Michele Slung recommends The Years That Were Fat: Peking 1933-1940, by George N. Kates

Michele Slung, a veteran book editor, wrote recently to recommend George N. Kates’ 1952 memoir, The Years That Were Fat: Peking 1933-1940:

I finished a few days ago George Kates’ THE YEARS THAT WERE FAT, about his life in Peking in the ’30s. He had no journals, seemingly, yet sat down to write of his seven-year stay over a decade later, publishing the book in ’52. It was lent to me by an Asian-specialist curator friend, who said she’d always loved it and thought I would, too. I’m now pressing her to consider mounting a show centered on Kates and his more than ever “lost” world.

Slung’s friend, Dr. Caron Smith, is curator of the Crow Collection of Asian Art in Dallas.
yearsthatwerefat1
It’s a little surprising that The Years That Were Fat: Peking 1933-1940 is out of print and forgotten today, as it’s been published no less than four times so far: by Harpers in 1952, then by the M. I. T. Press in 1967 and again in 1976, and finally by Oxford University Press U. S. in 1989.

Kates cames to Peking in 1933 after a short but profitable stay in Hollywood, and settled in a quarter not frequented by Westerners, just north of the Forbidden City. He immersed himself in Chinese life, learning the language and customs and studying their culture (his first book, published in 1948, was Chinese Household Furniture, still considered an essential reference work). Driven out of the city by the encroaching Japanese Army, Kates soon left China. It would be ten years later before he would write of his experiences–without access to notes or a journal, as Slung notes.

The book was well-received when it was first published. Kates’ perspective and voice were particularly noted. “He is excellent when he describes the moods of the city, the street-vendors’ cries, the histories of the palaces and the temples, the practice of calligraphy, the strange habits of ricksha boys, and the hazards of learning Chinese,” wrote Robert Payne in the Saturday Review. Reviewing it for the academic Journal of Asian Studies, Arthur Hummel wrote with un-scholarly enthusiasm:

It is a book that no one who wishes to recapture the spirit of traditional Chinese civilization should miss reading; for, despite its unattractive title, it is a work of unusual depth and charm.

… Much of the charm of this book is attributable to the disciplined prose in which it is written. One must look far to find in it a hackneyed phrase, an ungainly sentence, or a dull paragraph.

Though out of print, the book continues to be mentioned from time to time. Novelist Adam Williams mentioned it in a 2009 talk on literary Peking and Ian Johnson referred to it in a 2008 Wall Street Journal book review.

And, it turns out, digital versions of the 1952 edition are available for free online, thanks to the Internet Archive: http://archive.org/details/yearsthatwerefat008540mbp.

The Second Miracle, by Peter Greave

secondmiracleThumbing through Peter Greave’s 1976 memoir, The Seventh Gate, in preparation for my short video piece on five neglected memoirs, I was reminded what a wonderful writer he was, and decided to locate a copy of his first book and give it a try. The Second Miracle, published in 1955, is Greave’s account of his time as a patient in a small clinic in England run by Anglican nuns–the Community of the Sacred Passion–for the treatment of leprosy, now usually referred to as Hansen’s disease. The clinic, St. Giles Home for British Lepers, located in East Hunningfield, near Chelmsford, Essex, was the last institution in England dedicated for the treatment of the disease.

Greave earned a place in the home while hiding away in a room in a decrepit boarding house in Calcutta, an experience he describes in The Seventh Gate. An unexpected windfall from his father allowed him to book a passage to England on a merchant freighter. For Greave, leaving India and gaining a hope of proper treatment was his first miracle. The second, he hoped, would be for him to walk out of the clinic cured, a healthy man.

The book opens with his long ride in the back of a cab from a Liverpool dockside to the home. His nerves worn raw from eight years of painful and lonely existence in India, he finds himself contemplating suicide even as the cab nears his destination:

I was in a state not far removed from insanity; it would not have been correct to describe me as a youngish [he was 38 when he arrived at the hospital in 1947] man who was sick. I was sick, but I was more than that; I was a perambulating mass of fear. Because of my fate I felt that I had lost the status of human being, that I stood outside the bounds of human pity; and the fear of something unimaginably horrible happening to me, once my condition was known, had become part of my mental make-up. And yet in a way this fear was my own choice; I had deliberately accepted it as the price of freedom. For eight years I had clung to the outskirts of life; crouching in my corner I had feasted my eyes on its radiance and gaiety; and though it had meant hiding like a criminal I had managed to retain my identity.

I dreaded beyond words the possibility of being shut away, of becoming a number in a hospital ward, of forfeiting even the nominal rights of a human being. To be shut up was a death sentence, and yet it was worse than that; it was a sentence of life without any of the ingredients that make life bearable.

It takes Greave some weeks to adapt to his new circumstances and begin to feel safe. The physical comforts–a room of his own, a comfortable chair to sit in, a soft bed to sleep in, windows from which to look out to the surrounding fields, three warm, nourishing meals a day–break down his resistance first. Then the genuine concern of the sisters and physicians for his care, and the companionship of his fellow patients helped him lose his sense of isolation. And after suffering years of painful and pointless injections into his scars, his disease began to respond to treatments with the new drug, dapsone.

The most difficult part of his recovery, though, is spiritual. In the time that he hid away from the world in his room in Calcutta, Greave had come to see his disease as a mark of “the guilt of a thousand generations of twisted minds, and of bodies thirsting for decay.” At the home, among other sufferers, he felt a release–“one of the the main ingredients in that shining peace I had prized so much.” With the successful treatment of his leprosy, “… all this was to be taken from me. I was to be flung back into the world of ordinary men, my body healed but bearing the taint of my guilt-haunted mind.” “I stood like a diver on a high springboard,” he writes, “looking down into the dark, greedy waters into which I soon must plunge, and knew that I was terrified.”

In the end, it is the Sisters who guide him to the cure for his soul as well as his disease. In a moving closing scene, in which he watches three of the novices he’s come to know take their voes and prepare themselves to leave on their missions to Africa, he finds a way to let go of his fears and entrust his fate to God.

The dust jacket copy sets up The Second Miracle as a story of Christian redemption, but there are few direct religious references or scenes in the book. What there are, instead, are many passages of beautifully written, closely observed, and sympathetic prose. This is some of the best writing I’ve come across, and I will be excerpting a least a couple of passages in succeeding posts. Here is a short one, recalling the last days of one of the elderly patients:

But although the gap left by that massive, bent figure with the wheezing chuckle and shoulders draped in a faded green shawl was a real one, it was surprising how quickly he seemed to slip out of the general mind. For a day or two there were comments on his absence and inquiries as to his progress, and then he appeared to be lost sight of in the space of gossip and small personal spites and ambitions. It struck me as extraordinary that a man could so rapidly drop out of the circle and be forgotten by the rest, vanish and be as though he had never existed; but it struck me that perhaps this apparent callousness was due not so much to heartlessness as to an unconscious instinct for self-preservation. It was necessary for us to forget, to put out of our minds and utterly discard, anything that could remind us of the tenuous uncertainty of our hold on life. We all knew, though probably we scarcely admitted the thought even to ourselves, that we were little more than a hair’s breadth away from a similar defeat, and consequently we focused all our powers upon the struggle for survival, without a backward glance for those who were unable to keep their foothold upon the uneasy tightrope of existence.

While staying at the home, Greave began to write and publish for the first time, and for this we all owe the sisters a debt of gratitude. After leaving the home, he married and was able to make a living as a writer. He published articles in various magazines, wrote The Second Miracle and several novels–all out of print–and a further memoir, The Seventh Gate, in 1976. He died in 1977 at the age of 68.


The Second Miracle, by Peter Greave
New York: Henry Holt, 1955

New discoveries in this foreign country of illness, from You Still Have Your Head, by Franz Schoenberner

Cover of first US edition of 'You Still Have Your Head'

I am not yet able to write in the literal sense of the word. Writing always meant to me writing in longhand with a pencil which gave the wonderful chance to erase and to change every third word, or even, if you felt like it, to begin again the same sentence on a fresh page without much difficulty. It was almost a year after the accident that I started–not to write, but to dictate–this new story not of my life, but of something which was near death: a rather long voyage pretty near to the border of the unknown country from which nobody returns. It was indeed a very strange and instructive voyage; otherwise, I wouldn’t date to recount it, because nothing is more boring than telling about your illness. I shall try to speak as little as possible of illness–and as much as possible of health: the special sort of health which can exist even when your whole body, with the sole exception of your head, is lifeless and scarcely belongs to you.

But as long as your head, your mind, is still working and is not too much preoccupied with the strange state of your body you can make new discoveries in this foreign country of illness, discoveries which may be worth sharing with others–not only those who have gone or are going through a similar ordeal, but almost anybody who in one way or another suddenly faces the necessity of overcoming some suffering, some handicap, for which he was not prepared. … as everybody knows who has a longer and deeper experience of life, even the most tragic situation often includes a strange element of humor–tragic humor, perhaps, or sardonic humor, and even sometimes simple human humor. As long as you are able to see these elements you are not entirely lost in tragedy–not lost in your suffering. You are already a little bit above and beyond the factual situation when you are able to view it with the detachment of an objective observer. There is a certain sense of the grotesque, and sometimes cruel irony which seems to be an inescapable part and parcel of the process of living.

You Still Have Your Head: Excursions From Immobility is an account of Schoenberner’s experiences and–mostly–his thoughts during his recovery from being attacked and left paralyzed from the neck down. Schoenberner had gone to complain about loud music from a neighboring apartment. One of the young men in the apartment flew into a rage and savagely struck out at Schoenberner, breaking his neck. A German intellectual who had fled Nazi Germany two steps ahead of the Gestapo–a situation he recounted in The Inside Story of an Outsider–Schoenberner responded to his situation the only way he knew how: by considering it in light of history, literature, philosophy and, occasionally, human behavior. Possessed of a remarkable resilience of spirit and sense of humor, if he ever experienced a moment of self-pity, you won’t find it here. Instead, you’ll find one man’s attempt to put a horrific twist of fate into perspective, an example of understanding reached through the disciplined exercise of a lifetime’s worth of learning.


You Still Have Your Head: Excursions From Immobility, by Franz Schoenberner
New York: The Macmillan Company, 1957