Leslie Thomas reviews

Leslie Thomas OBE (1931 to 2014) was a Welsh author best known for his bestselling comic novel ‘The Virgin Soldiers’. Thomas had a hard start in life: he was orphaned in 1943 at the age of 12, when his mariner father was lost at sea and his mother died only a few months later from cancer. He was subsequently brought up in a Dr Barnardo’s home (and made his upbringing the subject of an autobiographical book).

In 1949 Thomas was called up for National Service and embarked on a two-year tour of duty in Singapore with the Royal Army Pay Corps, where he was briefly involved in a military action against communist rebels in the Malayan emergency, experiences which he used in ‘The Virgin Soldiers’.

Returning to England in 1951, he embarked on 15 years or so working for a succession of local newspapers until the success of his first book allowed him to embark on a full-time career as a writer.

Thomas was prolific, writing about 30 novels, 3 travel books and a couple of works of autobiography. It’s nice to know that a man who overcame such challenging background ended up being awarded an OBE for all his hard work, an improbable life trajectory he records in his aptly named autobiography, ‘In my wildest dreams’.

Thomas’s fiction drives a coach and horses right through any notions of political correctness or wokeness, overflowing with attitudes – particularly towards women (and teenage girls) – which are completely unacceptable nowadays; they single-handedly explain the historic need for women’s liberation and feminism.

That obvious point made, I value them (up to a point) because they describe what it was like – the soldier ones giving an insight into raw squaddie life, the civilian ones giving a vivid feel of the shabby, shameful 1970s. I admire authors like Thomas. He knew what his job was, which was to write popular entertainments for middle-brow readers, and he did it very well and with some style, according to the spirit of the times.

But although written with great brio, and containing many vivid scenes and characters, they eventually began to feel too grubby and seedy to continue with. I abandoned plans to read any more and feel a bit embarrassed about having read this many.

Thomas novels

Virgin Soldiers

  • The Virgin Soldiers (1966) A frank, often tender, sometimes genuinely moving account of one young man among many (John Brigg, aged 19), forced to do National Service far from home (Malaya), lonely and scared, trying to make sense of his life, of sex, of love, a tale told with tremendous verbal energy, and containing a genuinely scary attack by communist insurgents.
  • Onward Virgin Soldiers (1971) Twenty years later Brigg is still in the Army, now a sergeant, stationed in Hong Kong and prone to drunken misadventures and sexual escapades, but unlike the original’s freshness, this one has a jaded, rather grubby feel about it.
  • Stand Up Virgin Soldiers (1975) Worst of the three, Thomas rewrites the ending of the first novel so that, instead of ending his National Service and returning to Blighty, his young hero, John Brigg, is forced to serve another six months, so it’s a (patchy) attempt to revive the characters and dynamics of the original book.

Others

  • His Lordship (1970) A peculiar and uncomfortable novel about William Herbert, a man with a voyeuristic obsession with teenage girls who gets a job at a girls’ school as a tennis coach, then gets into all sorts of farcical trouble, before being arrested. The novel is told as a flashback from a police cell where he’s been arrested and questioned but, right at the end, it comes out that the interrogating officer is himself just as perverted as Herbert, maybe more so. There are many comic and some sexy moments, but the dominant feeling is of seedy grubbiness.
  • Tropic of Ruislip (1974) A classic 1970s depiction of the quiet desperation of suburban life in the mould of ‘Rising Damp’, ‘Fawlty Towers’ or ‘The Fall and Rise of Reginald Perrin’, ‘Tropic’ charts the farcical misadventures of Andrew Maiby, his resentful wife, reluctant teenage girlfriend and nitpicking neighbours in the suburban enclave of Plummers Park, all genuinely funny and spirited, right up to the unexpectedly brutal and upsetting ending.
  • Dangerous Davies: The Last Detective (1976) A would-be comic novel about Peregrine ‘Dangerous’ Davies, a shambling middle-aged police detective constable and his sidekick Mod Lewis. Davies was clearly invented with commercial opportunities in mind – and indeed Thomas went on to write three further novels about him, and managed to get him made into an ITV series starring Peter Davison. It has its moments and is persuasively written, but I found the characters and social landscape of the mid-70s unremittingly depressing, not helped by the queasy centrality of yet another teenage girl as the love object. It put me off reading any more Thomas.

Graham Greene reviews

Graham Greene (1904 to 1991) was an English writer and journalist who came to dominate his age. Over a 60-year career he wrote over 25 novels, novellas, scores of short stories, masses of journalism, and was heavily involved in film, adapting many of his novels for the screen (such as the classic ‘Brighton Rock’), or converting screenplays into novels (as in the case of the wildly successful ‘The Third Man’).

He dominated the British literary scene of the 1950s, 60s, 70s and 80s, producing a steady stream of high quality fictions, often set in wartorn troublespots (the Congo, Vietnam, Haiti) thus doubling up as a kind of foreign correspondent for the literary world. By sheer dogged determination, he turned his personal demons and suicidal depression into a compelling worldview, combining despair with a relentless focus on the seedy aspects of human existence, all clothed in a personal brand of nihilistic Roman Catholicism, which critics came to call ‘Greeneland’.

Most of his books are good, some are very good, but I’m not sure any individual one is great: the closest one is ‘The Heart of the Matter’ which is often held up as his masterpiece but which George Orwell rightly ridiculed for its suburban Angst and Catholic self-dramatisation. ‘The Unquiet American’ may be his best straight novel, with ‘The End of The Affair’ packing a genuinely terrifying punch right at the end. ‘A Burnt Out Case’ was a pleasure to read.

Being strongly allergic to the Catholic despair which characterises almost everything he wrote, I prefer his surprisingly funny comedies, such as ‘Our Man In Havana’ and ‘Travels With My Aunt’.

Fiction

  • The Man Within (1929) One of the worst books I’ve ever read, a wretchedly immature farrago set in a vaguely described 18th century about a cowardly smuggler who betrays his fellows to the Excise men then flees to the cottage of a pure and innocent young woman who he falls in love with before his pathetic inaction leads to her death. Drivel.
  • The Name of Action (1930) (repudiated by author, never republished)
  • Rumour at Nightfall (1931) (repudiated by author, never republished)
  • Stamboul Train (1932) A motley cast of characters find out each others’ secrets and exploit each other on the famous Orient Express rattling across Europe, climaxing in the execution of one of the passengers, a political exile, in an obscure rail junction, and all wound up with a cynical business deal in Istanbul.
  • It’s a Battlefield (1934) London: a working class man awaits his death sentence for murder while a cast of seedy characters, including a lecherous H.G. Wells figure, betray each other and agonise about their pointless lives.
  • England Made Me (1935) Stockholm: financier and industrialist Krogh hires a pretty Englishwoman Kate Farrant to be his PA/lover. She gets him to employ her shiftless brother Anthony who, after only a few days, starts spilling secrets to the seedy journalist Minty, and so is bumped off by Krogh’s henchman, Hall.
  • A Gun for Sale (1936) England: After assassinating a European politician and sparking mobilisation for war, hitman Raven pursues the lecherous middle man who paid him with hot money to a Midlands town, where he gets embroiled with copper’s girl, Anne, before killing the middle man and the wicked arms merchant who was behind the whole deal, and being shot dead himself.
  • Brighton Rock (1938) After Kite is murdered, 17 year-old Pinkie Brown takes over leadership of one of Brighton’s gangs, a razor-happy psychopath who is also an unthinking Catholic tormented by frustrated sexuality. He marries a 16 year-old waitress (who he secretly despises) to stop her squealing on the gang, before being harried to a grisly death.
  • The Confidential Agent (1939) D. the agent for a foreign power embroiled in a civil war, tries and fails to secure a contract for British coal to be sent to his side. He flees the police and unfounded accusations of murder, has an excursion to a Midlands mining district where he fails to persuade the miners to go on strike out of solidarity for his (presumably communist) side, is caught by the police, put on trial, then helped to escape across country to a waiting ship, accompanied by the woman half his age who has fallen in love with him.
  • The Power and the Glory (1940) Mexico: An unnamed whisky priest, the only survivor of the revolutionary communists’ pogrom against the Catholic hierarchy, blunders from village to village feeling very sorry for himself and jeopardising lots of innocent peasants while bringing them hardly any help until he is caught and shot.
  • The Ministry of Fear (1943) Hallucinatory psychological fantasia masquerading as an absurdist thriller set in London during the Blitz when a man still reeling from mercy-killing his terminally ill wife gets caught up with a wildly improbable Nazi spy ring.
  • The Heart of The Matter (1948) Through a series of unfortunate events, Henry Scobie, the ageing colonial Assistant Commissioner of Police in Freetown, Sierra Leone, finds himself torn between love of his wife and of his mistress, spied on by colleagues and slowly corrupted by a local Syrian merchant, until life becomes intolerable and – as a devout Catholic – he knowingly damns himself for eternity by committing suicide. Whether you agree with its Catholic premises or not, this feels like a genuinely ‘great’ novel for the completeness of its conception and the thoroughness of its execution.
  • The Third Man (1949) The novella which formed the basis for the screenplay of the famous film starring Orson Welles. Given its purely preparatory nature, this is a gripping and wonderfully-written tale, strong on atmosphere and intrigue and mercifully light on Greene’s Catholic preachiness.
  • The End of The Affair (1951) Snobbish writer Maurice Bendrix has an affair with Sarah, the wife of his neighbour on Clapham Common, the dull civil servant, Henry Miles. After a V1 bomb lands on the house where they are illicitly meeting, half burying Bendrix, Sarah breaks off the affair and refuses to see him. Only after setting a detective on her, does Bendrix discover Sarah thought he had been killed in the bombing and prayed to God, promising to end their affair and be ‘good’ if only he was allowed to live – only to see him stumbling in through the wrecked doorway, from which point she feels duty bound to God to keep her word. She sickens and dies of pneumonia like many a 19th century heroine, but not before the evidence begins to mount up that she was, in fact, a genuine saint. Preposterous for most of its length, it becomes genuinely spooky at the end.
  • The Unquiet American (1955) Set in Vietnam as the French are losing their grip on the country, jaded English foreign correspondent, Thomas Fowler, reacts very badly to fresh-faced, all-American agent Alden Pyle, who both steals his Vietnamese girlfriend and is naively helping a rebel general and his private army in the vain hope they can form a non-communist post-colonial government. So Fowler arranges for Pyle to be assassinated. The adultery and anti-Americanism are tiresome, but the descriptions of his visits to the front line are gripping.
  • Loser Takes All (1955) Charming comic novella recounting the mishaps of accountant Bertram who is encouraged to get married at a swanky hotel in Monte Carlo by his wealthy boss who then doesn’t arrive to pick up the bill, as he’d promised to – forcing Bertram to dabble in gambling at the famous Casino and becoming so obsessed with winning that he almost loses his wife before the marriage has even begun.
  • Our Man In Havana (1958) Comedy about an unassuming vacuum cleaner salesman, Jim Wormold, living in Havana, Cuba, who is improbably recruited for British intelligence and, when he starts to be paid, feels compelled to manufacture ‘information’ from made-up ‘agents’. All very farcical until the local security services and then ‘the other side’ start taking an interest, bugging his phone, burgling his flat and then trying to bump him off.
  • A Burnt-Out Case (1960) Tragedy. Famous architect Querry travels to the depths of the Congo, running away from his European fame and mistress, and begins to find peace working with the local priests and leprosy doctor, when the unhappy young wife of a local factory owner accuses him of seducing her and fathering her child, prompting her husband to shoot Querry dead.
  • The Comedians (1966) Tragedy. Brown returns to run his hotel in Port-au-Prince, in a Haiti writhing under the brutal regime of Papa Doc Duvalier, and to resume his affair with the ambassador’s wife, Martha. A minister commits suicide in the hotel pool; Brown is beaten up by the Tontons Macoute; he tries to help a sweet old American couple convert the country to vegetarianism. In the final, absurd sequence he persuades the obvious con-man ‘major’ Jones to join the pathetic ‘resistance’ (12 men with three rusty guns), motivated solely by the jealous (and false) conviction that Jones is having an affair with his mistress. They are caught, escape, and Brown is forced to flee to the neighbouring Dominican Republic where the kindly Americans get him a job as assistant to the funeral director he had first met on the ferry to Haiti.
  • Travels With My Aunt (1969) Comedy. Unmarried, middle-aged, retired bank manager Henry Pullman meets his Aunt Augusta at the funeral of his mother, and is rapidly drawn into her unconventional world, accompanying her on the Orient Express to Istanbul and then on a fateful trip to south America, caught up in her colourful stories of foreign adventures and exotic lovers till he finds himself right in the middle of an uncomfortably dangerous situation.
  • The Honorary Consul (1973) Tragedy. Dr Eduardo Plarr accidentally assists in the kidnapping of his friend, the alcoholic, bumbling ‘honorary consul’ to a remote city on the border of Argentina, Charley Fortnum, with whose ex-prostitute wife he happens to be having an affair. When he is asked to go and treat Fortnum, who’s been injured, Plarr finds himself also taken prisoner by the rebels and dragged into lengthy Greeneish discussions about love and religion and sin and redemption etc, while they wait for the authorities to either pay the ransom the rebels have demanded or storm their hideout. It doesn’t end well.
  • The Human Factor (1978) Maurice Castle lives a quiet, suburban life with his African wife, Sarah, commuting daily to his dull office job in a branch of British Security except that, we learn half way through the book, he is a double agent passing secrets to the Russians. Official checks on a leak from his sector lead to the improbable ‘liquidation’ of an entirely innocent colleague which prompts Castle to make a panic-stricken plea to his Soviet controllers to be spirited out of the country. And so he is, arriving safely in Moscow. But to the permanent separation with the only person he holds dear in the world and who he was, all along, working on behalf of – his beloved Sarah. Bleak and heart-breaking.
  • Monsignor Quixote (1982) Father Quixote is unwillingly promoted monsignor and kicked out of his cosy parish, taking to the roads of Spain with communist ex-mayor friend, Enrique ‘Sancho’ Zancas, in an old jalopy they jokingly nickname Rocinante, to experience numerous adventures loosely based on his fictional forebear, Don Quixote, all the while debating Greene’s great Victorian theme, the possibility of a doubting – an almost despairing – Catholic faith.
  • The Captain and The Enemy (1988) 12-year-old Victor Baxter is taken out of his boarding school by a ‘friend’ of his father’s, the so-called Captain, who carries him off to London to live with his girlfriend, Liza. Many years later Victor, a grown man, comes across his youthful account of life in this strange household when Liza dies in a road accident, and he sets off on an adult pilgrimage to find the Captain in Central America, a quest which – when he tells him of Liza’s death – prompts the old man to one last – futile and uncharacteristic – suicidal gesture.

Short stories

  • Twenty-One Stories (1954) Generally very short stories, uneven in quality and mostly focused on wringing as much despair about the human condition as possible using thin characters who come to implausibly violent endings – except for three short funny tales.

Travel

  • The Lawless Roads (1939) Greene travels round Mexico and hates it, hates its people and its culture, the poverty, the food, the violence and despair, just about managing to admire the idealised Catholicism which is largely a product of his own insistent mind, and a few heroic priests-on-the-run from the revolutionary authorities.

Biography

My essays

The Yellow House: Van Gogh, Gauguin and Nine Turbulent Weeks in Arles by Martin Gayford (2006)

‘I should like to have been born a pig’ – Paul Gauguin

‘One cannot forgo a woman for too long with impunity’ – Vincent van Gogh

‘Calm down, eat well, fuck well, work well and you will die happy’ – Paul Gauguin

‘We painters must get our orgasms from the eye’ – Vincent van Gogh

‘… an art that offers consolation for the broken-hearted’ – Vincent van Gogh

Executive summary

From October to December 1888 two great artistic innovators, Vincent van Gogh and Paul Gauguin, lived and worked, ate and collaborated and argued, in a small house in Arles in the south of France. It was a period of intense inventiveness and productivity – in the month from late November to late December van Gogh painted no fewer than 35 paintings! But as Christmas approached, Vincent’s mood became more troubled and his behaviour more difficult until finally, on 23 December, Gauguin announced he was leaving, prompting van Gogh to carry out the inexplicable atrocity of cutting off his own left ear.

This book, by long-established art critic Martin Gayford, is a fairly long (356 pages), detailed but very readable account of those torrid two months, shedding light on the two men’s careers up to the fateful stay, painting a picture of the networks of experimental and avant-garde artists they operated within, shedding light on aspects of contemporary French society and artistic practice, but mostly concentrating on the day-to-day nuts and bolts of their lives together – who did the cooking, which locals they got on with and painted, locations they chose as subjects of their paintings, letters to and from Vincent’s brother Theo, fellow artist Emile Bernard, and so on.

Longer synopsis

On 20 February 1888, Vincent van Gogh arrived in Arles in the South of France, after having lived and painted in Paris for two years. He had only started painting in 1880, at the age of 27 (born March 1853) but had developed a quirky and unique style, of composition, colour and technique.

Now 35, after staying in various rented rooms, in May 1888 Van Gogh rented what became known as ‘the yellow house’, at Number 2 Place Lamartine, for 15 francs per month. Here he lived and set up his studio. He hoped it would form the nexus of a community of artists, a commune, almost a monastery of ascetics devoted to ‘the new art’, and had reached out to several of his peers.

The Yellow House by Vincent van Gogh (1888) Van Gogh Museum, Amsterdam (Vincent Van Gogh Foundation)

Early on the morning of 23 October the most talented of these friends, Paul Gauguin, having received many invitations, finally arrived in Arles and took the bedroom next to Vincent’s.

For the next two months the two artists lived and painted together, in intense camaraderie, but it was a fractious difficult relationship, Gauguin finding it hard to live with the increasingly unstable Vincent. He threatened to move out several times and the whole thing climaxed on the notorious evening of 23 December 1888 when, after Gauguin announced that he was moving out, van Gogh sliced off pretty much his entire left ear with a razor.

Gauguin went ahead and moved out but van Gogh stayed on in the Yellow House until February of the next year, when he checked himself into a hospital. He continued to work in Arles for a few more months but had himself interned voluntarily in the asylum in Saint-Rémy on 8 May 1889.

The totality of his time in Arles, from February 1888 to May 1889, was a period of intense artistic productivity during which he created over 300 works, including masterpieces like ‘Sunflowers’, ‘The Starry Night Over the Rhône’, ‘The Bedroom’ and ‘The Night Café’.

This book by English art critic Martin Gayford (b. 1952 and so 72 years old) is a retelling of this well-worn story. Does his retelling justify the cost of admission? Well, there are already 1) umpteen editions of Vincent’s letters, which any chronicler of the period has to quote and 2) umpteen other accounts of this famous period, including exhibitions devoted to it and accompanied by scholarly catalogues.

Gayford adds lots of details and spin-off facts, the banalities of life such as how, on the night of Saturday 13 October, Vincent slept for 16 hours straight. He has the letters and memoirs to go on, and so is able to produce a pretty much day-by-day account.

Notable factoids

Neither Gauguin nor van Gogh were leading figures in the art world of the time. That was probably 29-year-old Georges Seurat who had invented an entirely new way of painting (with dots – pointillisme) that had seduced some of the older generation of impressionists. Gauguin loathed it as the peak of rationality, the opposite of the dreamy symbolism he aspired to (p.124-5).

But lots of it is more along the lines of how on 29 September, van Gogh bought two beds for the house, at a cost of 150 francs. He spent more money having gas lighting installed.

Vincent’s drinking was sometimes ‘out of control’. When he was depressed he drank to liven himself up. When he was troubled by anguished thoughts he drank to stupor himself. So whatever mood, drink was the answer. He often stayed late drinking at the Café de la Gare, and spent three evenings making his famous painting of it.

The Night Café by Vincent van Gogh (September 1888) Yale University Art Gallery

Gauguin, by contrast, drank little or nothing, making a small glass last all night, mainly for appearance’ sake. After a couple of months Gauguin thought Vincent was an alcoholic.

That said, Vincent was ‘addicted’ to coffee and one of the first things he did after moving into the yellow House was buy coffee-making apparatus.

Both Gauguin and Vincent smoked pipes, the pipe prolétarienne, the Bohemian alternative to cigars.

They were both frank about visiting one of Arles’s six brothels or maisons de tolerances, agreeing that sex was good for the health. About once a fortnight, though a local later remembered that Vincent was always ‘hanging round’ the brothels.

Prostitution was part of Vincent’s life and long had been. The only women he ever went with, he remarked rather bitterly to Theo, were whores at 2 francs intended for Zouaves. At one time Vincent had lived with a reformed prostitute; now in Arles his only sexual relations were bought with small sums of money. (p.119)

(In fact van Gogh had lived for 21 months with a prostitute, from January 1882 to September 1883 – Cristina or Sien Hoornick in the Hague. She had a four-year-old daughter and during their time together gave birth to a son by another man. Van Gogh declared he wanted to marry her until his scandalised family stepped in and threatened to suspend his financial support. Regretfully Vincent left her, moving away, but was haunted by a sense of loss which informs some of his greatest paintings – pages 228 to 231.)

Prostitution, Vincent felt, would have been bad if society were ‘pure and well-regulated’. As it was, materialism and sanctimonious morality ruled; prostitutes seemed more like ‘sisters of mercy’ to an outcast such as Vincent. He felt no scruple about associating with them; he liked their company. There was something ‘human’ about them. (p.230)

The rent for the Yellow House was paid to Bernard Soulé, manager of the hotel on the Avenue Montmajour.

Vincent liked creating gangs, introducing his friends to each other, choreographing their relationships, trying and continually failing to create a community of artists.

Someone who lives in Arles is a called an Arlésien, or Arlésienne for a woman. The Arlésiens spoke a dialect of French known as Provencal or Occitan, which was closer to Catalan than French. Neither Vincent nor Gauguin could understand them. In any case, Vincent spoke French more purely than Gauguin who had been born and raised abroad.

Paul Cézanne (born 1839), the prototypical painter of the French south, was a god to Gauguin but van Gogh disliked him, thinking his work to finicky and controlled. On the one occasion when Vincent showed the older man his work, Cézanne told him he was a madman.

Gauguin was a keen fencer and brought his foil, gloves and mask with him from Brittany. He also liked boxing. He played board games. He could also play the piano, badly. Vincent could do none of these things.

Gauguin was a detached, rational almost scientific painter, making painstaking preparations. He believed art was an intellectual activity and involved generating abstract patterns from what was in front of you.

‘Do not paint too much from nature. Art is an abstraction; extract it from nature, while dreaming in front of it.’ (quoted on page 69)

‘Abstract’ was a favourite word of Gauguin’s (p.101).

Van Gogh was the direct opposite, working feverishly, impetuously, long splashes of paint worked into swirls and whorls resonating with his passion – ‘very rapidly in one exhilarating rush’.

Which is why van Gogh produced in a working career of just under ten years more paintings than Gauguin produced in 30 (p.113).

Van Gogh wanted to paint what was in front of him but in a feverishly stylised way, especially the heightened colouring. Gauguin didn’t give a damn what was in front of him but wanted to extract the essence of the dream. Which is why he was soon to be invited into Symbolist circle of the poet Stéphane Mallarmé (p.101).

When van Gogh lost his religious faith he discovered a fervent belief in contemporary literature (p.145). Vincent loved the writings of Émile Zola and read his realistic novels avidly. He was reading Zola’s latest novel, The Dream. Gauguin disliked Zola, thinking his style false. Vincent also liked Guy de Maupassant, the Goncourt brothers, Alphonse Daudet and the popular novelist Pierre Loti.

The best art quote is from Gauguin and not about life in the South but in the Brittany he’d just come from, and is a good insight into his painting.

I love Brittany. I find here the savage and the primitive. When my clogs clang on this granite earth, I hear the dull, muffled tone, flat and powerful, that I try to achieve in painting.
(quoted page 58)

Gauguin was designated the cook of the household, he had a feel for good food. Van Gogh on the other hand, had a functional attitude: food was fuel which kept going his intense mind and perceptions. Plus he had a long history of stomach problems, exacerbated by long spells of poverty and/or religious zeal in which he deliberately starved himself. (Both men took a similarly functional attitude towards sex; it was a healthy release from what really mattered, which was painting.) Disappointingly, neither of them left any record of what Gauguin cooked.

Gauguin had attended Roman Catholic school and been drilled in his catechism. Van Gogh was the son of a Protestant pastor. In England he got work as a teaching assistant in a Protestant school and gave sermons (the first, on the subject of pilgrimage, at the Wesleyan chapel in Richmond, p.106). By the time they were at the Yellow House, both men had lost their faiths but Vincent never lost his northern, Protestant earnestness.

Van Gogh wrote repeatedly about wanting to paint the ordinary men and women of his time with the intensity the olden artists reserved for Christian saints. A noble wish but Gayford thinks he was crippled by his Protestant honesty, his dogged commitment to the truth in front of him, ‘too truthful, too wedded to the facts, too Dutch’ (p.250).

Gauguin, with his background in a Catholic seminary, found it much easier to create paintings with a Christian resonance and later would paint works with explicitly religious imagery, invoking Adam and Eve in the Garden of Eden, the Fall, the Crucifixion and much more (p.248).

Both van Gogh and Gauguin were essentially self-taught, picking up tips and ideas from everywhere and their contemporaries.

They had picked it up from other artists and, in Vincent’s case, from life classes at which he tended to clash angrily with the teachers. Essentially, they were self-taught, and that made them more open to innovations of every kind: stylistic, spiritual, technical. (p.71)

This was one of the great objections made by academic artists and critics to the impressionists and the wave of artists who followed them – that they went through none of the careful preparation for a painting enjoined on students, but used their own slapdash methods. (Gayford explains the correct academic stages for creating a painting – consisting of: preliminary sketch; sketch; study; then final tableau – page 104.)

Van Gogh was very messy; he never put the lids back on the paint tubes which were always oozing paint all over the place, which drove Gauguin nuts. And he wasn’t the only one. Half a century later the daughter of a local shopkeeper remembered van Gogh as ‘very ugly, ungracious, impolite, crazy and bad-smelling’ (p.73).

They walked and moved differently. Plenty of eye witnesses testified to van Gogh’s ‘short, quick, irregular’ steps which were echoed by his whole bodily movement which was jerky and ungainly (p.289). All this contrasted with Gauguin who cultivated a calm and stately air, sober gestures and dignity which could come across as aloofness (p.114).

Van Gogh was intolerably prolix. Once started, he tried to persuade everyone he was talking to of his views, yoking in examples from art, music, philosophy, literature and his experiences. His friend, the young painter Emile Bernard, remembered him as ‘vehement in discourse, interminably explaining and developing his ideas’ (p.162). This came over in his letters, which sometimes ran to 16 pages of rambling argumentation. Just one of the things that wore Gauguin down.

Gauguin heard a great deal of Vincent’s views about portraiture, as about everything else. (p.241)

Gauguin was very excited when he learned that Edgar Degas liked his latest paintings. Degas (born 1834) was from the generation above Vincent and Gauguin. According to Gayford he was a ‘crabby and caustic man, known for displays of acerbic wit at Parisian dinner parties’ (p.222).

Gauguin humorously signed his many letters PGo, which could be pronounced as ‘pego’ which, apparently, is French slang for penis.

Les Alyscamps

In the first weeks of the joint stay, Gauguin and van Gogh spent days in Arles’ ancient cemetery, Les Alyscamps, which dated back to Roman times, still very atmospheric despite being encroached on by a big factory and cut across by a modern railways line.

Their different approaches to the purpose of art, their styles and techniques are vividly distinguished in the paintings they made. Gauguin extracted from the scene an abstract view of mysterious figures in a portentous landscape, coloured with rich and unnaturalistic colours.

‘Les Alyscamps or the three graces at the temple of Venus’ by Paul Gauguin (1888) Musée d’Orsay

Van Gogh used colours intensely but a) left in all the modern details, included the factory with smoke coming from its chimneys and b) his people are almost accidental details, giving a sense of the everyday and contingent but made feverishly intense. You can see how messily – and incompletely – the paint has been applied in the foreground.

‘Les Alyscamps, Avenue in Arles’ by Vincent van Gogh (October 1888) Source/Photographer: Goulandris Foundation

Two portraits of Mrs Roulin

Showing just how different two portraits of the same person can be, when executed by two such very different sensibilities. Augustine-Alix Roulin, born in 1851 and so 37, was the wife of a local postal official, Joseph Roulin. In December 1888, Vincent persuaded the entire family to sit for their portraits, including the children and the little baby Marcelle.

On the first occasion, Vincent and Gauguin both painted Madame Roulin at the same sitting, sitting in the same chair, wearing the same clothes, against the same background. The resulting portraits not only show the two artists’ contrasting styles but are a revelation of how utterly differently two people can see exactly the same thing. In fact van Gogh is quoted saying as much, saying of portraits that ‘one and the same person may furnish motifs for very different portraits’ (p.239).

Here’s Vincent’s rendering.

‘Portrait of Madame Augustine Roulin’ by Vincent van Gogh (November to December 1888) Winterthur: Oskar Reinhart Collection

And Gauguin’s. They could barely be more unalike in composition but also the handling of the paint.

‘Madame Roulin’ by Paul Gauguin (1888)

Gayford tells us it was by his portraits that van Gogh wished to be judged whereas Gauguin wasn’t much of a portraitist, except of himself (p.254).

Comments

Gayford’s book is enjoyable partly because it has a great subject and that subject is absolutely awash with sources to draw on. Van Gogh’s paintings, his letters (‘Few people have left a fuller self-portrait in words than Vincent did, p.315); Gauguin’s letters, his later memoirs; the memoirs of their correspondents (notably brother Theo van Gogh and the young painter Emile Bernard); and memories of inhabitants of Arles – there is a wealth of information, before you even start on the secondary material, namely loads of biographies of both men, thousands of essays by art critics and scholars, the catalogues of countless exhibitions, and so on.

Gayford synthesises all this into a competent, interesting and – in the final scenes around the notorious ear-cutting incident – quite gripping narrative. It is told in a straightforward, magazine style, with fairly interesting inserts about Zola or the academic process for creating a painting, the merits of jute versus canvas as a support for an oil painting, a light summary of van Gogh’s rather incoherent colour theory, and so on and so on.

But for such an eminent art writer, and a man who loses no opportunity to remind us how he’s good friends with contemporary artists such as David Hockney and Lucien Freud, Gayford’s commentary is often surprisingly banal.

When he tells us that in the late nineteenth century a lot of people lost their Christian faith and goes on to quote Matthew Arnold’s super famous poem, Dover Beach, as proof, I felt the heavy thump of banality and obviousness. This is A-level standard, if not GCSE English level.

Same with his page and a half explaining Zola’s sequence of Les Rougon-Macquart novels (pages 212 to 213), or telling us that Wagner was a revolutionary composer. GCSE level. Everywhere you look, Gayford states the fairly obvious in an amiably anodyne style. The first page of Sue Prideaux’s epic biography of Gauguin is more arresting and insightful than anything in Gayford.

It’s a good enough book but nowhere does Gayford rise to the eloquence you feel is really required to do justice to van Gogh’s extraordinary genius and the astonishingly creative symbiotic relationship between him and Gauguin. It has puffs on the back from the Mail on Sunday and the Sunday Times. Well, quite. Sunday supplement stuff. Intelligent, thorough, competent, but lacking any fire.

Oh yes, the illustrations The paper quality is poor, cardboardy and the illustrations are in poor quality black and white and small. I had to look all the paintings up online in order to appreciate them. Since this is a book about artists who were revolutionaries in the use of colour, giving the paintings themselves as tiny, poor quality black and white reproductions is so poor as to be absurd.

All in all, it demonstrates Simon’s Law of Books which is: the more you pay for a book, the more you’re likely to be disappointed.

Studio of the South: Van Gogh in Provence by Martin Bailey

In the Royal Academy shop I just saw a copy of this book, ‘Studio of the South: Van Gogh in Provence’ by Martin Bailey. This looks like it’s a different league from the Gayford. It’s not only more recent (2021 compared to 2006), but it’s a bigger format book with lovely shiny paper and lavish full colour illustrations. I haven’t read the text but for the illustrations alone, I’d ignore the Gayford and go with Bailey.

Lautrec’s van Gogh

One of the best things I learned from Gayford’s book was the existence of a portrait of van Gogh done by fellow Bohemian Henri Toulouse-Lautrec, before Vincent left Paris in early 1888. Lautrec was just 23. Genius, isn’t it? And for all its brash technique and colour palette, figuratively accurate in a way nothing by Vincent or Gauguin is.

Vincent van Gogh by Henri de Toulouse-Lautrec (1887) Pastel on cardboard


Credit

The Yellow House: Van Gogh, Gauguin and Nine Turbulent Weeks in Arles by Martin Gayford was first published by Fig Tree books in 2006. I read the 2024 revised Penguin paperback edition.

Related links

Related reviews

Agatha Christie reviews

Novels

1920 The Mysterious Affair at Styles

1922 The Secret Adversary

1923 The Murder on the Links

1925 The Secret of Chimneys

1926 The Murder of Roger Ackroyd

1927 The Big Four

1928 The Mystery of the Blue Train

1929 The Seven Dials Mystery

1931 The Sittaford Mystery

1932 Peril at End House

1933 Lord Edgware Dies

1934 Murder on the Orient Express

1934 Why Didn’t They Ask Evans?

1935 Death in the Clouds

1935 Three Act Tragedy

1936 Murder in Mesopotamia

1936 Cards on the Table

1937 Dumb Witness

1937 Death on the Nile

1938 Appointment with Death

1938 Hercule Poirot’s Christmas

1939 Murder Is Easy

1939 And Then There Were None

1940 Sad Cypress

1940 One, Two, Buckle My Shoe

1941 Evil Under the Sun

1941 N or M?

1942 The Body in the Library

1942 Five Little Pigs

1943 The Moving Finger

1944 Towards Zero

1945 Sparkling Cyanide

1946 The Hollow

1948 Taken at the Flood

About Agatha

Aspects of Hercule Poirot

Agatha Christie’s feisty young women

Agatha Christie: An English Mystery by Laura Thompson (2007)

Agatha Christie: An English Mystery by Laura Thompson (2007)

Key facts

Agatha Christie was born Agatha Mary Clarissa Miller on 15 September 1890. So just add a ten to the year of publication of any of her books to get her age when it was published – ‘Murder on the Orient Express’ 1934: 34 + 10 = 44 (in fact 43, as it was published in January and she was born in September, but you get the basic idea).

The surname Christie derives from her first husband, Archie Christie, who she married on Christmas Eve 1914, as the First World War was settling in for the long haul (p.94).

In total Agatha Christie published 66 detective novels and 14 short story collections, as well as six non-detective novels under the pseudonym Mary Westmacott.

She created the famous fictional detectives Hercule Poirot and Miss Marple who have featured in countless movie and TV adaptations, not to mention radio, video games and graphic novels. Over 30 movies have been based on her works.

She wrote the world’s longest-running play, the murder mystery ‘The Mousetrap’, which has been performed in the West End of London since 1952.

She is the best-selling fiction writer of all time, her novels having sold more than two billion copies.

Her novel ‘And Then There Were None’ is the world’s best-selling mystery novel and one of the best-selling books of all time, and with over 100 million copies sold.

Childhood

Christie was born into a wealthy upper middle-class family in Torquay, Devon, and was largely home-schooled.

Frederick and Mary Boehmer

Her parents were an odd couple. Her mother, Clarissa ‘Clara’ Margaret Boehmer was born in Dublin in 1854 to British Army officer, Frederick Boehmer, and his wife Mary Ann West. Boehmer died in Jersey in 1863, leaving Mary to raise Clara and her brothers on a small income.

Nathaniel and Margaret Miller

Two weeks after Boehmer’s death, Mary’s sister, Margaret West, married the widowed American dry-goods merchant, Nathaniel Frary Miller.

Foster Clara

To help her impoverished widowed sister, Margaret and Nathaniel agreed to foster nine-year-old Clara Boehmer. In other words, at a very early age Clara was taken away from her mother and brothers and raised by her aunt and never ceased to regret it.

Frederick Miller

Now Nathaniel had a son, Frederick from his previous marriage. Fred was born in New York City and travelled extensively after leaving his Swiss boarding school, returned for visits as Clara grew up. In 1969 i.e. six years into this fostering arrangement, Nathaniel Miller, like Frederick Boehmer before him, died young, leaving Margaret a widow.

Frederick Miller marries Clara Boehmer

Fifteen years after Clara’s father died and nine years after Nathaniel Miller died, in 1878, this Frederick Miller, now 32, proposed to Clara, now 24, and she accepted. They were married in London in 1878.

Madge and Monty

Their first child, Margaret ‘Madge’ Frary, was born in Torquay in 1879. The second, Louis Montant ‘Monty’, was born in Morristown, New Jersey, in 1880, while the family was on an extended visit to the United States.

Fred and Clara buy Ashfield

When Fred’s father (and Clara’s foster father), Nathaniel, had died in 1869, he had left Clara £2,000, something like a quarter of a million in today’s money. In 1881 Fred and Clara used this to buy a villa in Torquay named Ashfield. It was here that their third and last child, Agatha, was born in 1890. Note the age difference between her elder siblings: Madge was 11 years older, Monty 10 years older.

Home schooling

Clara actively prevented Agatha from going to school, believing she should be home schooled. The result was Agatha largely taught herself, not least by voraciously reading everything in her father’s library.

Fred Miller dies

In 1901 Agatha’s cheerful, lazy father Fred died from pneumonia and chronic kidney disease. Christie later said that her father’s death when she was 11 marked the end of her childhood. Two points about this:

1) Fred never worked a day in his life and cheerfully lived off investments. However, income from these had steadily declines, with suspicions of embezzlement or sharp dealing by his American trustees. Whatever the precise reason, Fred’s death left Clara severely straitened for funds. Not that impoverished – she could still afford the upkeep of Ashfield and some servants but could no longer afford to entertain or maintain the traditional upper middle class lifestyle (p.58).

The matriarchy

The other point is The Matriarchy. All these men died young, and the womenfolk lived on with the result that Agatha was raised in a household of women (Clara and Madge), and made regular visits to her great-aunt the ‘magnificent’ (p.77) Margaret Miller in Ealing and maternal grandmother Mary Boehmer in Bayswater.

Nice old ladies

There are dashing young chaps in her novels, older professional men such as judges and police and so on, but I think Agatha’s upbringing in a matriarchy left a strong impression on her fictional world. Her novels abound with highly enjoyable older women, Miss Marple just being the most obvious. The utterly conventional values attributed to characters like Miss Marple or Miss Peabody or numerous others, have such warm-hearted authority because they are, in fact, the values of the utterly conventional Agatha.

  • Miss Jane Marple – elderly spinster who lives in the village of St. Mary Mead
  • Mrs Price Ridley, Miss Wetherby, Miss Hartnell – Miss Marple’s three friends who make up the quartet of old ladies in St. Mary Mead, in the first Miss Marple book, ‘Murder at the Vicarage’
  • Mrs Harfield – who Katherine Grey is a companion to (The Mystery of the Blue Train)
  • Miss Lavinia Pinkerton – suspects there is a murderer at work in the village of Wychwood under Ashe (Murder Is Easy)
  • Miss Caroline Peabody – tubby, sharp and witty spinster lives at Morton Manor, and is the oldest resident of Market Basing (Dumb Witness)

Laura Thompson on Agatha’s childhood

It’s Agatha’s childhood, girlhood and teenage years, mostly spent at the women’s family home of Ashfield, which Laura Thompson’s biography really dwells on. It gives a vivid and sympathetic portrait of a late-Victorian childhood and a girl growing into a young woman during the Edwardian decade, raised with traditional values which Thompson clearly sympathises with.

Music

Music for a while was a passion. Agatha learned piano as a girl and as a teenager took singing lessons to a very high standard. Thompson has page after page quoting Agatha’s diary and letters and the autobiography she wrote at the end of her life to describe her intoxication with music. She had a classic late-Victorian sensibility, with lots of vapouring about beauty, fancy dress balls where people dressed as characters out of Tennyson, she had a lifelong love of Wagner’s music (Wagner died in 1883, so by the 1910s when she was in love with it, it was 30 or more years out of date) (p.61).

Paris

In 1905, Clara sent Agatha to Paris, where she was educated in a series of pensionnats (boarding schools), focusing on voice training and piano playing. She was very good at both but not good enough to take them up professionally. Agatha stayed in Paris for nearly two years. Presumably this influenced the nationality of her greatest creation, Hercule Poirot – not the fact that he’s Belgian so much as Agatha’s confidence in rendering his French speech patterns.

Conventional

Thompson tried to make much of her heroine’s intelligence and Agatha was fluent and articulate and thoughtful, there’s lots of works and autobiography to quote from –but all of it is second rate. There is nothing about ideas or challenging books she read or intellectual pursuits. Instead, as she hit 18 and ‘came out’ to society, Agatha spent all her time going to parties and dances and concerts, amateur theatricals and attending fox hunts (p.64), flirting with large numbers of eligible young men, endlessly discussing their merits with her watchful mother, Clara.

As to her beliefs, she was a run of the mill, ordinary, devout Anglican. As to feminism and women’s rights, Agatha thought it was her role and fate in life to get married. That’s what women of her age and class did, and she never changed her view.

So it’s no surprise to learn that she was a lifelong Conservative voter (p.353).

The Mary Westmacott novels

In describing Agatha’s early years, Thompson draws heavily on the set of six Westmacott novels. Christie was so unstoppably prolific that alongside her murder mysteries she wrote six ‘ordinary’ non-detective novels, about love and relationships etc, sometimes described as ‘romantic’ novels’. They gave her ‘the chance to better explore the human psychology she was so intrigued by, freed from the expectations of her mystery fans’ as her grand-daughter explained.

To distinguish them from the murder mysteries she came up with a nom be plume based on her own middle name (Mary), Westmacott being the blandly English name of some distant relatives. The six Westmacott novels are:

  • Giant’s Bread (1930)
  • Unfinished Portrait (1934)
  • Absent in the Spring (1944) – she wrote this in less than a week!
  • The Rose and the Yew Tree (1947)
  • A Daughter’s a Daughter (1952)
  • The Burden (1956)

Thompson quotes from them extensively. Thus ‘Giant’s Bread’ concerns a sensitive young musician named Vernon Deyre, and Thompson reckons Christie poured into it a lot of her own feelings for classical music, for studying, practicing and performing; and similarly with autobiographical elements of the other books.

Marrying off Agatha

Clara had successfully married Madge off in 1902 to James Watt who had taken her off to his family home in the Midlands. Monty had joined the army and was posted overseas. What about Agatha? For Clara, and Agatha herself, adulthood meant marriage.

1907 to 1908: Trip to Egypt

Clara decided to spend the winter of 1907 to 1908 in the warm climate of Egypt, which was then a regular tourist destination for wealthy Britons. They stayed for three months at the Gezirah Palace Hotel in Cairo. Christie attended many dances and other social functions; she particularly enjoyed watching amateur polo matches.

First story

At 18 Agatha wrote her first short story, ‘The House of Beauty’, while recovering in bed from an illness. It was 6,000 words about ‘madness and dreams’. Her imagination had a decidedly Gothic turn. Subsequent stories dealt with spiritualism and the paranormal. Some of this lingered on into her mature novels, such as the powerful séance scene at the start of The Sittaford Mystery (p.78).

1909: first novel

Around the same time, in 1909 Christie wrote on her first novel, ‘Snow Upon the Desert’ based, predictably enough, on the winter she’d just spent in Egypt (p.67).

Conventional

Agatha was utterly conventional. About everything she had ‘the conventional, sensible attitude’ (p.116). As she came out, aged 18, she took to a life of country house parties, riding, hunting and countless dances, and numerous flirtations with eligible men.

‘Cairo meant nothing to me – girls between eighteen and twenty-one seldom thought of anything but young men’ (Agatha’s Autobiography, quoted p.68)

She had short-lived relationships with four men and an engagement to another (p.74). And Laura Thompson comes over as every bit as conventional, expecting no depths or insights from her heroine. She writes so well about Agatha’s life because she functions at the same shallow, Readers’ Digest level.

It was delight, all of it; the life that any normal, healthy, attractive, young girl would want to live (p.60)

1912: Archie Christie

In October 1912 she was introduced to Archibald ‘Archie’ Christie at a dance given by Lord and Lady Clifford at Ugbrooke, 12 miles from Torquay (p.73). The son of a barrister in the Indian Civil Service and an Irishwoman Ellen, known as Peg, Archie was a year older than Agatha (born September 1880). He was a Royal Artillery officer who was seconded to the Royal Flying Corps in April 1913.

Archie proposes

The couple quickly fell in love. Three months after their first meeting, Archie proposed marriage, and Agatha accepted. (She was something of a pro at all this, having already received three proposals of marriage, and actually being engaged to someone else when Archie proposed, to one Reggie Lucy, p.79.)

Anti-feminism

‘I hate a slobbering female,’ said Miss Percehouse. ‘I like one who gets up and does things.’
(The Sittaford Mystery, Chapter 17)

A naive feminist like Lucy Worsley thinks Agatha is a feminist heroine, but Christie was expressly anti feminist in both the tendency of her characters and stories, and explicitly, in her letters and autobiography – in fact anywhere and everywhere she could express an opinion.

Satirising feminist characters

The novels feature a number of loud-mouthed feminists who Agatha heartily satirises, boomingly women’s libbers like Lady Westholme in ‘Appointment with Death’ or the pretentious (and alcoholic) feminist author Salome Otterbourne in ‘Death on the Nile’. Rather:

[Christie] had a deep regard for working women. Not the strident ones who waved the feminist flag, like the politician Lady Westholme in ‘Appointment with Death’, proclaiming that ‘If anything is to be accomplished, mark my words, it is women who will do it’… (p.85)

Agatha’s anti-feminist attitudes

Pages 83 to 84 are just some of the many where Thompson makes crystal clear how utterly conventional Agatha was in her notions of gender roles. It was a woman’s responsibility to get married. She never considered a career of any kind. I’m going to quote from these pages to really convey the flavour.

To Agatha [marrying Archie] was fate; it was her female destiny. Having been brought up to express herself in any way she chose, she expected only to marry. This was her upbringing, which she had no urge to question. Girls of her sort did not have careers. They had husbands.

Agatha, despite her extraordinary achievements, would always assert that a career was a man’s job – ‘Men have much better brains than women, don’t you think?’ was a typical comment – and that the true value of a woman lay within the personal arena.

‘It makes me feel that, after all, I have not been a failure in life – that I have succeeded as a wife,’ she wrote to her second husband, Max, in 1943.

So as a girl she never chafed against the limits of her life: the conventions, the corsets, the need to speak low or sing to a teddy bear. Unlike her near-contemporary Dorothy L. Sayers – who, at the time of Agatha’s entry into the marriage market, was chewing the intellectual fat over cocoa at Somerville [college] – she had no desire to break free. She felt free anyway.

For all that she loved the novels of May Sinclair, she shared none of her feminist concerns. The frustrations of a girl like Vera Brittain, then at Oxford with Sayers, whose Testament of Youth rages against the male-dominated conventions of the time, would have been utterly remote from her.

The truth is that she liked a man’s world. She saw beyond it, although not in a political sense; later she would live beyond it, with her success and self-sufficiency; yet she loved being female and never felt circumscribed by her sex. She had grown up in a matriarchy after all. And she understood – as ‘cleverer’ girls perhaps do not – that female strength could show itself in many different ways… (pages 83 to 84)

Romantic love

Thompson has page after page after page describing Agatha’s initial love for Archie. Although her mother instantly saw the danger that he was a) selfish and b) attractive to other women, Agatha (who Thompson repeatedly tells us was immature and still basically ‘a girl’) saw the whole situation in Victorian terms, as something out of Tennyson, she as the pure-hearted lady Elaine cleaving to her handsome Sir Lancelot etc etc. He was ‘her dream come true’.

1914: VAD

When the war broke out Archie was sent to France almost immediately and Agatha hastened to join up as a nurse in a VAD:

Voluntary Aid Detachments (VADs) were organizations that provided support to the military during World War I. These detachments, formed by the British Red Cross and the Order of St. John, played a vital role in staffing hospitals and providing various services like nursing, cooking, and general aid.

Doctors

Dr Lord approached the bed, Nurse O’Brien fluttering behind him. Mrs Welman said with a twinkle: ‘Going through the usual bag of tricks, Doctor: pulse, respiration, temperature? What humbugs you doctors are!’
(Sad Cypress, part 1, chapter 5)

As a nurse Agatha saw at first hand how pompous and incompetent many doctors are. There’s a police doctor in most of the murder mysteries, but some doctor characters play larger roles and, by and large, they’re pretty unflattering characters.

  • The Mysterious Affair at Styles – Dr Bauerstein, sinister
  • The Murder of Roger Ackroyd – Dr Sheppard, the murderer
  • Why Didn’t They Ask Evens? – Dr Nicholson, a sinister drug addict
  • Murder is Easy – Dr Thomas
  • Cards on the Table – Dr Donaldson
  • The Sittaford Mystery – Dr Warren
  • And Then There Were None – Dr Armstrong, the murderer

Thompson describes Agatha as being as unflappable and sound in her work as a nurse, calmly describing the amputations, the severed limbs, the crying men, briskly getting on with the work (p.94). This is very much of a piece with the attitude which comes over in the books, brisk and no-nonsense, ‘Stop crying, girl! There’s a job to be done! Pull yourself together!’

And with her extraordinary ability to be interrupted at any point of writing a novel, go out for lunch or dinner, go to a party, come back and pick up exactly where she left off, and carrying on writing. Extraordinarily nerveless and anxiety-free (p.129). What a gift!

1916: The dispensary

In 1916 a drug dispensary was opened at Torquay hospital and Agatha switched to it from nursing. The hours were shorter and the pay better (p.103). The detailed knowledge of drugs, medicines and poisons she acquired her was to stand her in good stead for the rest of her life. The murder in her first detective novel, The Mysterious Affair at Styles, is entirely premised on professional knowledge of the action of poisons.

Twenty-four years later, in ‘One, Two, Buckle My Shoe’, the feel for drugs and poisons acquired in Torquay hospital dispensary, along with the relationships between the processions involved, was still underpinning the storyline of a dentist who appears (for a little while at least) to have poisoned a patient with a combination of adrenaline and prococaine.

‘These things happen—they happen to doctors—they happen to chemists…Careful and reliable for years, and then—one moment’s inattention—and the mischief’s done and the poor devils are for it. Morley was a sensitive man. In the case of a doctor, there’s usually a chemist or a dispenser to share the blame—or to shoulder it altogether. In this case Morley was solely responsible.’
(‘One, Two, Buckle My Shoe’, Chapter 2, section 1)

Unintellectual

Thompson tries to persuade us how imaginative Agatha was and yet what comes over is how utterly unimaginative she was, uninterested in politics, uninterested in suffragettes or feminism, uninterested in any social issues, in philosophy or any of the humanities – but with a vivid sense of her class of people, conceived as stock types.

Surely that’s one of the secrets of her success, is how utterly unthreatening her books are; how populated they are by reassuringly conventional jolly good chaps and plucky chapesses, stern judges, reassuring police inspectors, and so on. Everyone observes the decencies and common courtesies. It’s their lovely manners and good behaviour which are so attractive, reassuring and comforting. Seen from this angle the murders almost don’t register.

Readability

And this goes a long way towards explaining probably the biggest single explanation of her success, which is her immense readability.

The invention of Poirot

Poirot arrived fully formed in her first novel. Later she at various times tried to explain his creation but couldn’t because she was a deeply unreflective, unintellectual writer. Belgian refugees during the war provided the nationality, the rest she plucked from circumstances around her and voilà, he was fully formed. A miracle. What’s so impressive about Poirot is how much he doesn’t change over the next 40 years.

The feature which struck me most about Poirot from his first appearance is that he is old, in fact he has retired from being a detective on his first appearance. And he is old like Miss Marple. So Christie’s two great characters are outwith any concern for sex, outside relationships, the marriage market, the whole thing. Outsiders to the fierce competition over sex, mates, children, resources, jobs, reputations, money. It’s because of this that the books they appear in can observe the silliness of human sex lives – and family rivalries and bitterness about money – with such detachment and amusement.

Yes, amusement, that’s the watchword, the key quality of Christie’s novels and the main reason I like them. I don’t care that much about the murders and the silly clues and the ludicrous explanations; I enjoy the humour of the characters and, above all, the amused, smiling tone of her narrative voice.

1919: Parenthood

The war ended, Archie was demobilised fairly quickly and got a job at the Air Ministry. The couple took to living together as man and wife, something they hadn’t actually done during the war. Within a year Agatha was pregnant and delivered of a baby girl. Like everything else in her life, Agatha accepts pregnancy as the fate of a young wife here, as in everything, adopting the conventional, sensible attitude.

But she wasn’t a natural mother for the simple reason that she herself was still a girl.

Agatha did not need a perfect child: she herself was perfect to Clara. So in love was she with being a daughter… that she was unable to find true fulfilment as a mother. (p.122)

It is a recurring theme in her later novels that mothers often don’t like or resent their daughters (p.123). Lots of evidence that she never really bonded with Rosalind.

Something about this marvellous, bright, sharp-edged child seems to have shrivelled Agatha’s maternal impulses in the bud’ (p.268)

Nonetheless, they came to have a respectful relationship, joshing bonhomie concealing the underlying tension. Thompson quotes a character from the novel ‘Five Little Pigs’:

Many children, most children, I should say, suffer from over attention on the part of their parents. There is too much love, too much watching over the child. It is uneasily conscious of this brooding, and seeks to free itself, to get away and be unobserved. With an only child this is particularly the case, and, of course, mothers are the worst offenders.

Or this from Dumb Witness:

‘What is she like, your cousin?’
‘Bella? Well, she’s a dreary woman. Eh, Charles?’
‘Oh, definitely a dreary woman. Rather like an earwig. She’s a devoted mother. So are earwigs, I believe.’

She was sometimes angry or frustrated that she would never be to her daughter what her mother, Clara, had been for her, her all-in-all.

Writing for money

Archie suggested she write another novel, in fact he actively supported her writing career. ‘The Mysterious Affair at Styles’ made her £25 for serialisation rights in the Weekly Times. Its sequel ‘The Secret Adversary’ made the grand total of £50 and sold better than Styles. There followed in quick succession ‘The Murder on the Links’, ‘The Man in the Brown Suit’ and a bunch of Poirot stories.

1922: tour of the white Empire

Archie was offered a job touring the white Empire nations (Canada, South Africa, Australia, New Zealand) to promote the upcoming 1924 Empire exhibition. He took Agatha and they were abroad travelling for most of 1922.

Thompson judges the novel she wrote during and about the trip, ‘The Man in the Brown Suit’, to be her most joyful and sexy. The heroine, Anne Beddingfield, falls madly in love with the tall adventurer Harry Rayburn and is given to bold idealistic speeches:

‘I shouldn’t dream of marrying any one unless I was madly in love with them. And of course there is really nothing a woman enjoys so much as doing all the things she doesn’t like for the sake of some one she does like. And the more self-willed she is, the more she likes it.’
‘I’m afraid I disagree with you. The boot is on the other leg as a rule.’ He spoke with a slight sneer.
‘Exactly,’ I cried eagerly. ‘And that’s why there are so many unhappy marriages. It’s all the fault of the men. Either they give way to their women—and then the women despise them, or else they are utterly selfish, insist on their own way and never say ‘thank you.’ Successful husbands make their wives do just what they want, and then make a frightful fuss of them for doing it. Women like to be mastered, but they hate not to have their sacrifices appreciated. On the other hand, men don’t really appreciate women who are nice to them all the time. When I am married, I shall be a devil most of the time, but every now and then, when my husband least expects it, I shall show him what a perfect angel I can be!’

Archie was often quite ill on the trip. On their return his job in the City had gone to someone else and he was unemployed and miserable for months. Their (relative) impecunity is turned to comic account of the start of the first Tommy and Tuppence novel, The Secret Adversary.

1924: Brown and money

In 1924 the Evening News offered Agatha £500 for the serialisation rights of ‘The Man in the Brown Suit’. This brought home to her and Archie (and her sister and mother, Clara) that Agatha was looking at the makings of a real career and serious money. With the money she bought her first car, a grey Morris Cowley (p.153).

Agatha always drove a hard bargain, as producers at the BBC were later to complain. Money is a central preoccupation of her books and their characters. Money is the motive in 36 of the 55 murder mystery novels.

There was a silence, and then Tuppence burst out:
‘Money, money, money! I think about money morning, noon and night! I dare say it’s mercenary of me, but there it is!’
‘Same here,’ agreed Tommy with feeling.
(The Secret Adversary, Chapter 1)

In 1924 she signed a three book deal with Collins, who were to remain her publisher for the rest of her life, having left Bodley Head after her initial five-book deal which she felt had taken advantage of her.

1925: Chimneys

In Thompson’s view ‘The Secret of Chimneys was perhaps the happiest book that Agatha ever wrote’ (p.143).

1926: Ackroyd

Her first book for Collins, ‘The Murder of Roger Ackroyd’, transformed her reputation. It is often described as the ‘ultimate detective story’. This is for the simple reason that the narrator, honest-sounding Dr Sheppard, turns out to be the murderer. That’s it.

In ‘Roger Ackroyd she revealed for the first time her natural quality of translucency: her ability to control every sentence of her books, yet allow them breathe free. Agatha did not impose. Nor did she interpose one atom of herself between her writing and her readers. Her words communicate exactly and only what is required; which is not the same as saying they have no life beyond what is on the page. They have, in fact, the mystery of simplicity. They are the conduits for her plots, which are ultimately simple. (p.156)

Agatha’s qualities

Agatha was not a naturally descriptive writer. (p.139)

‘She was by nature remarkably unobservant’ she wrote of herself in ‘Unfinished Portrait’ (quoted p.139)

Agatha was not an especially humorous woman. (p.143)

Chimneys is what nowadays would be called a snobbish book…Impossible to deny that Agatha lived in an enclosure, that of the upper middle class into which she was born. (p.145)

Archie and Agatha grow apart

In 1924 Archie finally got a job in the City and was happy. He was taking home £2,000 a year. He took up golf and slowly this became an obsession. Soon he played every weekend, and resented anyone coming to stay who didn’t play. Agatha tried her best but wasn’t very interested and wasn’t very good. She had thickened since having Rosalind. She was 35 and her young good looks had gone. She rarely drank alcohol (good) but her favourite drink became a mix of milk and cream, such as she had loved as a girl at Ashfield. She put on weight. Archie began to dislike her schoolgirl gushiness, her chunkiness, her resentment at his weekends at the golf course.

Clara dies

Then her mother, Clara, died, on 5 April 1926. Agatha (‘too much of a child herself’) was devastated and went down to Ashfield to spend months clearing out the house of her childhood. Archie reacted badly: he disliked illness and hadn’t wanted to hear about Clara’s decline and refused to go down to comfort or help Agatha. It was the end of the marriage though she didn’t realise it.

Agatha disappears

The most famous incident in Agatha Christies life was when she went missing for 11 days and sparked a nationwide frenzy. She left her car abandoned off a lane on the North Downs overlooking a quarry with a deep pool nearby. The Surrey police were convinced she had killed herself. Day after day more volunteers joined the search scouring the Surrey countryside and numerous people claimed to have sighted the missing woman all around the UK.

Thompson devoted pages a slightly staggering 72 pages to the incident, page 186 to 258. Frankly I find this kind of thing quite staggeringly boring, as it doesn’t really seem to have impacted her writing – certainly not as much as her projection of herself into upper middle class settings, her xenophobia, her ingenuity, and her thumpingly conventional view of human nature do – based on her ‘obtuse and childlike’ character (p.179).

In Thompson’s the whole thing was a ploy to win back Archie’s love. While Agatha was away in Torquay weeping over her lost childhood, Archie decisively fell in love with a younger, sexier woman, named Nancy Neele. Archie told Agatha about it in August 1926, and asked Agatha for a divorce. After many recriminations, they agreed on a three-month trial period to try and save the marriage, but the months passed and Archie continued to spend much time in London or at friends’ house parties with Nancy in attendance.

Finally, in December things came to a head. On 3 December 1926 they had a big argument after Archie announced his plan to spend the weekend with friends, unaccompanied by his wife, but in the presence of Nancy.

Late that evening Christie disappeared from their home in Sunningdale. The following morning, her car, a Morris Cowley, was discovered at Newlands Corner in Surrey, parked above a chalk quarry with an expired driving licence and clothes inside. It was feared that she might have drowned herself in the Silent Pool, a nearby beauty spot.

The disappearance quickly became a news story. One newspaper offered a £100 reward. Over 1,000 police officers, 15,000 volunteers, and several aeroplanes searched the rural landscape. Sir Arthur Conan Doyle gave a spirit medium one of Christie’s gloves to find her.

Christie’s disappearance made international headlines, including featuring on the front page of The New York Times. According to Thompson she wrote and posted a letter to Archie’s brother, Campbell Christie, i.e. her brother-in-law, explaining that she needed time away and was going to a spa in Yorkshire and she caught a train from London to Harrogate where she checked in under the name Mrs Neele. That, of course, was the name of his husband’s mistress.

In Thompson’s view, Campbell Christie was intended to get the letter on the Monday morning, ring up Archie who would have been distressed at her disappearance, and got on the next train to Yorkshire. Harrogate, according to Thompson, is the kind of Yorkshire equivalent of Sunningdale, very posh, and so it shouldn’t have taken Archie long to track her down.

According to eye witnesses (notably a Mr Pettelson, a cultivated Russian exile) she had a lovely time in the Swan Hydropathic Hotel where she checked in, spending the days sightseeing and the evening joining in singing and music making or billiards in the drawing room.

The main source of the delay and the escalation of a private marital squabble into a national manhunt appears to have been the obsession of the police officer in charge of the investigation, police Superintendent Kenward, that Agatha had killed herself. Even when (belatedly) informed of the letter in which she simply explained that she’d gone to stay in Yorkshire, he refused to believe it. Only when guests at the hotel approached the local police to claim that the mysterious Mrs Neele looked strikingly like the missing Agatha, did the cops intervene and invite Archie up. He walked into the hotel at dinner time on the tenth evening and simply identified Agatha, for himself and to a detective who’d accompanied him.

So it appears to have been a pitiful cock-up by the police, egged on by a tabloid press always keen for a scandal. To the members of the press who quickly flooded the hotel, and the railway stations on the route to her sister’s house outside Manchester, then back at their home in Surrey – Archie gave out the same rather desperate story that Agatha had suffered a breakdown accompanied by complete amnesia. The press and most of the public didn’t believe this and Thompson thinks it’s a lie.

Failure and divorce

As an attempt to win Archie back by sparking panic and regret, it was a miserable failure.

Having, as she thought, helped to destroy her marriage by leaving Archie alone while she grieved for her mother, she had now delivered its death blow by making herself an object of public ridicule, and Archie an object of public loathing. (p.256)

Archie lived at the unhappy family home in Sunningdale while he tried to sell it, Agatha lived in a flat in London with her daughter. They met once in 1927, where she begged him again to return but he simply stated he was in love with Nancy and only waiting for her to return from the round the world cruise her family had packed her off on to get her out of the limelight, before he wanted to marry her. So in spring 1928 Agatha petitioned for divorce and was granted a decree nisi against her husband in April 1928. This was made absolute in October 1928 and two weeks later Archie married Nancy Neele. Game over.

(Incidentally Archie remained married to Nancy for the next 20 years, till her death from cancer in 1958. It wasn’t just a flash in the pan.)

(Also incidentally, Agatha, up till then a fairly devout Anglican, never attended communion again after her divorce, p.290.)

The relevance of Agatha’s disappearance for her books

Thompson cites a shrewd quotation from P.D. James who says that Archie’s betrayal and desertion was the first real trauma she’d ever faced in her pampered protected life, that she never really recovered from it – and that this shaped her fiction.

Anybody who’s written about Christie’s novels makes the same point which is that, no matter how brutal the murder(s) and how byzantine the plot and backstories, in the end, everything comes out right: the guilty party is identified, everyone else is vindicated, surprisingly often one or more couples who we’ve met during the narrative end up getting married; and Poirot makes everything better, by tying up all the loose ends and leaving us with one of his little quips, very much like the Afterword to an Elizabethan play craving their audience’s indulgence.

On this reading, every single one of her detective stories does the same thing, which is throw us into death, disorder and ever-more bewildering confusion before… slowly, slowly leading us back up into the light. Thus every one of the novels can be seen as a cathartic experience. Almost every one leaves us with a jaunty smile on our faces.

For Thompson, the failure of her marriage represented Agatha finally growing up after 38 years of pampered privilege: not financially (the couple had been hard-up after the war, and Agatha had independent income from her writing) but in psychological terms. Her mother and her husband abandoned her, within a matter of months. No longer young or attractive or living a life of dreamy illusions, Agatha changed character, buckled down, and became a really professional writer.

The comment about no longer good-looking may sound sexist but it’s Thompson’s view that it came as a liberation.

Without the burden of normal female expectations, she found herself free. There was no longer an obligation to be a certain kind of woman: slim, pleasing, feminine. She could absent herself from these restraints. She could formulate a persona and wear it like a suit of armour – present it to the world in place of herself – and inside she could be whoever she chose. That was the freedom of the creator.

And so she became the staggeringly prolific professional writer. Between 1930 and 1939 Agatha produced 17 full-length novels, plus short stories. Although ‘Agatha Christie’ was her legal name, after the divorce it became a pen-name, a fictional name, a persona. And she used it to create radical reinventions of the detective novel:

  • the murderer who pretends to be a victim
  • the murderer who pretends to be a serial killer
  • the murderer who is also the investigating policeman
  • the cast of suspects who are all innocent
  • the cast of suspects who are all guilty

Mary Westmacott

But while she addressed the murder mystery novel with a kind of cold-blooded forensic experimentalism, at the same time she embarked what became a series of six novels under the alter ego of Mary Westmacott. See the section above. Knowing that they were written soon after her life-changing divorce sheds a different light on them and explains why Thompson mines them so heavily to depict the ‘real’ Agatha.

Travels and Max

In 1928 Christie left England and took the (Simplon) Orient Express to Istanbul and then onto Baghdad. Obviously the Orient Express trip provided the material for the book of the same name.

In Iraq she became friends with archaeologist Leonard Woolley and his wife, Katherine. They stayed with her at her new London home and then invited her to return to their dig in February 1930. On that second trip, she met archaeologist Max Mallowan, 13 and a half years her junior. She was 39, he was just 25 (Max b. 6 May 1904; Agatha b. 15 September 1890) (p.284). The precise occasion was when he took her and a group of tourists on a tour of his expedition site in Iraq.

By the standards of the day it was a fairly quick romance. Christie and Mallowan married in Edinburgh in September 1930. Unlike her first marriage, and like Archie and Nancy, Agatha and Max’s marriage lasted the rest of their lives, until Christie’s death in 1976.

Agatha accompanied Mallowan on all his subsequent archaeological expeditions, and her travels with him contributed background to several of her novels set in the Middle East, notably ‘Murder in Mesopotamia’, ‘Death on the Nile’ and ‘Appointment with Death’. His last trip back to Ur, the ancient city being excavated by Woolley was in 1931.

According to Thompson, Woolley’s wife, Katherine Woolley appears only thinly disguised in ‘Appointment with Death’ as the murderee, Mrs Leidner, a cold woman who enjoyed trifling with all the men around her – a rare instance of Agatha basing a character on an identifiable real life person.

Critics accused young Max of being a gold-digger and Agatha certainly funded his expeditions, notably one to Arpachiyah in Iraq in 1933. In 1935 he took Agatha to Chagar Bazar in Syria. Max wasn’t a brilliant excavator but he was brilliant at organising digs and keeping up to 200 local workmen under discipline. Agatha wasn’t that interested in the finds, but happily played the loyal wife and was also very interested in exotic wildflowers.

It was also, often, extremely uncomfortable, but Agatha was tough and healthy, and always despised complaining women. (p.314)

It’s true she featured archaeologists in some of her books: in ‘Murder in Mesopotamia’ but most critically in ‘Death in the Clouds’ where the narrator mocks the pretensions of the father and son team of archaeologists.

Thompson analyses the relationship at length but what it boiled down to was that Max restored her faith and trust and allowed her to return to a kind of state of pampered childhood, the state she enjoyed with her beloved mother and, at first, with Archie, till he got fed up of her gushing girliness: Max restored it to her and, thus liberated, her imagination was set free to roam far and wide, taking the detective story genre to pieces, and putting it back together in all kinds of interesting forms.

Buying houses

During the 1930s Agatha bought a number of houses with her earnings. At one point Thompson mentions properties at:

  • Sheffield Terrace
  • Campden Street
  • Half Moon Street
  • Park Place
  • a mews cottage at 22 Cresswell Place, Chelsea, SW1 (1929)
  • Lawn Road (p.344)

She finally, reluctantly, allowed beloved Ashfield to be sold but she had bought a comfortable home at Wallington near Oxford (Winterbrook; 1934) abut her romantic purchase was of the grand white house named Greenway, which overlooked the banks of the River Dart in Devon (also 1934).

On page 348, Thompson states that Agatha owned four houses: so presumably that’s Winterbrook, Greenway and two in London, so the other properties must have been flats.

Second World War

Max had a distinguished war career. According to his Wikipedia entry:

After the beginning of the Second World War he served with the Royal Air Force Volunteer Reserve in North Africa, being based for part of 1943 at the ancient city of Sabratha in Libya. He was commissioned as a pilot officer on probation in the Administrative and Special Duties Branch on 11 February 1941, promoted flying officer on 18 August 1941, flight lieutenant on 1 April 1943 and for some time he also had the rank of wing commander. His first role with the RAF was as a liaison officer with allied forces and, later in the war, as a civilian affairs officer in North Africa.

Thompson summarises Max’s career rather differently on page 319, emphasising the initial struggle he had to find a post.

Peripatetic

Greenway was commandeered by the military before being handed over to the American navy in 1942.(Naval officers billeted there painted a mural round the cornices of the library, celebrating their feats, which sounds like a bit of a liberty).

So Agatha spent the war years in London, moving between her half dozen properties, but mostly at Lawn Road Flats in Hampstead.

Agatha’s prolific war years

Agatha kept on writing at a prodigious rate. Between September 1939 and August 1945, she published:

  • And Then There Were None (1939)
  • Sad Cypress (1940)
  • One, Two, Buckle My Shoe (1940)
  • Evil Under the Sun (1941)
  • N or M? (1941)
  • The Body in the Library (1942)
  • Five Little Pigs (1942)
  • The Moving Finger (1943)
  • Towards Zero (1944)
  • Absent in the Spring (1944)
  • Death Comes as the End (1945)
  • Sparkling Cyanide (1945)

And this doesn’t include the plays she adapted from her own novels, sometimes radically rewriting the endings. Prodigious output, eh?

Five Little Pigs

Of all of these, Thompson singles out ‘Five Little Pigs’ as the masterpiece. This is because of the unusually intense and real feeling with which she describes a marriage on the rocks, as the husband falls for a much younger woman (although, typically, the situation turns out not to be quite as straightforward as it seems for the first three-quarters of the book). It has a ‘lived’ quality, which most of her novels don’t, really.

Stephen Glanville

During the war, while Max was away, Agatha had a brief flirtation, of sorts, with Stephen Glanville, a historian and Egyptologist ten years her junior. He helped her write her strangest novel, a murder mystery set in ancient Egypt, ‘Death Comes as the End’ (pages 330 to 335).

Shakespeare

She developed an intense passion for Shakespeare, attended numerous productions, and adapted her novel, ‘Ten Little N******’ for the stage, in 1943.

Hospital volunteering

In 1940 Agatha began to give a few days a week to voluntary work at University College Hospital, in the dispensary, the same kind of work she’d done during the first war.

Rosalind comes of age and marries

Thompson uses her war chapter to bring us up to speed with the life of Agatha’s difficult daughter Rosalind. Born in 1919, she ‘came out’ in 1937. In 1940, aged just 21, after a brief courtship, she surprised Agatha and Max by marrying a soldier, Major Hubert de Burr Prichard, in Wales. In 1943 they had a child, Mathew Prichard. A year later Major Prichard was killed in the invasion of Normandy. Five years later (in 1949) she married the lawyer Anthony Hicks and kept the married name Rosamond Hick to the end of her life.

Fat as a psychological defence

According to Thompson it was really during the war years that Agatha completely lost her youth and figure and became the stout middle-aged woman we know from the photos. Becoming fat made her sad but ‘she loved to eat’ (p.328). Thompson has a lyrical paragraph describing the change in Agatha’s self image:

It was a long way from the slender, fairy-like girl who had married Archie Christie: between those two there had been the mystery of physical allure, which Agatha still conjured in her books but had deliberately destroyed for herself. She had, indeed, coarsened. She did not merely his behind the public persona of ‘Agatha Christie’; she sheltered within a shroud of flesh, dense and unwieldy, a symbolic defence against the sharp agonies of the past. (p.328)

And even more so after the war:

Her large comfortable physicality was a defence against wounds, and after the war it grew more massive still. She lost the last trace of the attractions she had held, until her early fifties, for a man like Stephen Glanville. Her weight rose to nearly fifteen stone, her legs swelled immensely and she became extraordinarily sensitive about photographs.

And quotes a friend of Stephen Glanville’s daughter who met her in Cambridge in the 1950s:

‘I thought the sight of her surprising, with a fat, somewhat uncoordinated body and messily applied lipstick.’ (p.364)

It made her unhappy but this was the course she had adopted.

Tax troubles

To the amazement of Agatha, her agents in both the UK (Edward Cork of Hughes Massie) and the States (Harold Ober), towards the end of the 1930s she got into trouble with the tax authorities in both countries, trouble with ramified and complexified and ending up dogging her for decades. Thompson’s account begins on page 345 and then the theme recurs for the rest of the book.

As far as I can make out, the problem had two causes. Until the later 1930s Agatha had been categorised by the US tax authorities as a ‘non-resident alien author’ and so didn’t have to pay tax on income earned through the sale of her copyrights in the US, plus the increasing amount of movie and theatrical rights sales. All this changed when the US authorities decided that the wildly successful popular British novelist, Rafael Sabatini, did have to pay tax on the income he earned in the States. In 1938 the US tax authorities began to pry into Agatha’s affairs, quickly revealing how much she earned in the Sates and backdating her tax liability to the start of her career (in 1920). They started impounding her US earnings while the case went through the courts.

But in the meantime, back in the UK Agatha continued to live an upper middle class life, maintain her half dozen properties, with staff etc, and enjoy the high life, but with no income coming in from the States (p.359). She began to go into debt and borrowed to maintain her lifestyle. But at the same time, although she continued to be prolific and popular, wartime conditions in Britain also hit sales, revenue and publishers payments.

Then in 1945, the new Labour government put up tax thresholds to fund the welfare state and other policies, and people like Agatha, well off but not rich, were penalised.

A combination of all these factors means that the war years were marked by growing concerns about her income, her tax, and her lifestyle, worries which dogged her for decades to come.

The impact of war

Several novels Agatha published just after the war deal with its impact:

  • The Hollow (1946)
  • Taken at the Flood (1948)
  • The Rose and the Yew Tree (1948)

With their mood of restlessness and dissatisfaction (p.351).

The post-war

Thompson commences her account of Agatha’s post-war years with a couple of generalisations:

It was in the middle of the century that the phenomenon of ‘Agatha Christie’ really took off. In 1945 she was a popular and successful author whose new books always sold out a print run of 25,000. But by 1950 she was a global brand estimated to have sold 50 million books! And receiving increasing amounts of fan mail (p.361).

Two paradoxes about this:

1. It is generally agreed that this huge popularity came just as the quality of her novels began to fall away. In the 30 years from 1945 to 1976 she wrote a handful of outstanding books, but most of them war solid, reliable, formulaic. Not many matched the brilliance of the 20 or so year before (1926 to 1945) and especially ‘the period of intense, sustained creativity around the war which marks the high point of her achievement’ (p.356).

2. The other paradox is that her fame became truly enormous more from the adaptations of the books than the books themselves. Thus movie versions of:

  • Love From A Stranger (1937)
  • And Then there Were None (1945)

And theatrical adaptations of:

  • And Then there Were None (1943)
  • Hidden Horizon (adaptation of Murder on the Nile; 1944)
  • Murder at the Vicarage (1949)
  • The Hollow (1951)
  • The Mousetrap (1952)
  • Witness for the Prosecution (1953)

Not to mention radio, for example a series of weekly adaptations of the Poirot stories on American radio.

Goodbye

And with that, with Agatha having married off her daughter, undergone a period of prolific productivity, had a brief flirtation but remained fundamentally true to the man who rescued her wounded heart (Max), settling into middle-age and overweight, becoming a global brand but sinking into ever-murkier disputes with the tax authorities in two countries – I’m going to leave this biography. Maybe, when I’ve read the later books, I’ll pick it up and review the post-war years. But not now.


Credit

‘Agatha Christie: An English Mystery’ by Laura Thompson was published in 2007 by Headline Review. Page references are to the 2008 paperback edition.

Related reviews

Aspects of Hercule Poirot

‘Now then, you old dog. I know you Frenchmen!’
Poirot said coldly: ‘I am not a Frenchman!’
(Evil Under The Sun)

‘I prefer the life of the innocent to the conviction of the guilty.’

Poirot’s appearance

Short. Egg-shaped head.

Eyes light up green when he’s excited / on the trail.

Poirot sat up suddenly in his chair. A very faint green light glowed in his eyes. He looked extraordinarily like a sleek, well-fed cat. (The Mystery of the Blue Train, Chapter 17)

Poirot is short

Sherlock Holmes is what people expect of a master detective – tall (a shade over 6 foot), commanding and authoritative. Whereas Poirot is short – everyone comments on it, on how ‘small’ he is i.e. against the masculine stereotype.

Poirot is dapper

When necessary, Holmes is a dab hand with his fists and ready to whip his fencing sword out of his walking stick. The new breed of action heroes born during the war – John Buchan’s Richard Hannay and Sandy Arbuthnot, along with Sapper’s Bulldog Drummond – are even handier with their fists or the nearest weapon. None of them mind getting filthy dirty driving cars or flying airplanes or hiding out on the boggy moors.

Poirot couldn’t be more the opposite of this if he tried. He is not only short, but abhors physical violence and, above all, he is dapper, almost an aesthete – endlessly preening his moustaches and absurdly fussy about even a speck of dust landing on his perfectly pressed trousers.

Poirot’s age

I don’t think it’s stated anywhere, but what is stated, repeatedly, is other characters considering him over the hill, antique. In fact Christie has characters use the same slang expression, ‘gaga’, in numerous books.

After a minute Rosamund said: ‘That little man—Poirot—is he really taking an active interest!’
Kenneth Marshall said: ‘Seemed to be sitting in the Chief Constable’s pocket all right the other day.’
‘I know—but is he doing anything?’
‘How the hell should I know, Rosamund?’
She said thoughtfully: ‘He’s pretty old. Probably more or less ga ga.’
(Evil Under the Sun, Chapter 9)

Here, as in other aspects of his character, Poirot is obviously lulling the other characters and, to some extent the reader, into a false sense of complacency about him – before, of course, he solves the whole thing.

Poirot’s address

His (fictional) address is 56B Whitehaven Mansions, Sandhurst Square, London W1.

In the long-running ITV series starring David Suchet, Poirot’s apartment block was represented by Florin Court, Charterhouse Square, London EC1.

Poirot’s egotism

‘My name is Hercule Poirot,’ he said quietly, ‘and I am probably the greatest detective in the world.’
(The Mystery of the Blue Train, chapter 17)

It amused her to see the little man plume himself like a bird, thrusting out his chest, and assuming an air of mock modesty that would have deceived no one.
(The Mystery of the Blue Train, Chapter 21)

‘You are – you are a detective, aren’t you?’
‘Yes, Mademoiselle.’
‘A very well-known detective?’
The best detective in the world,’ said Poirot, stating it as a simple truth, no more, no less.(Appointment with Death, part 2, chapter 12)

‘Believe me – really – it would be better not to ask them. I am in good hands. Mr Seddon has been most kind. I am to have a very famous counsel.’
Poirot said:
‘He is not so famous as I am!’
Elinor Carlisle said with a touch of weariness:
‘He has a great reputation.’
‘Yes, for defending criminals. I have a great reputation – for demonstrating innocence.’
(Sad Cypress, part 2, chapter 11)

‘I want to show you, mademoiselle, that even in a small unimportant matter, I am something of a magician. There are things I know without having to be told.’
(Five Little Pigs, part 3)

Poirot’s foreignness

Because he is a foreigner in England, Poirot is outside the strict English class system. This allows him to make comic remarks about England’s appalling cuisine or the Englishman’s obsession with mindless sports. It also gives him leeway to intrude beyond the bounds of politeness which might restrain an English detective, as he explains to Roddy Welman in ‘Sad Cypress’:

Poirot said: ‘I apologize – I apologize deeply! It is so hard – to be a detective and also a pukka sahib. As it is so well expressed in your language, there are things that one does not say. But, alas, a detective is forced to say them! He must ask questions: about people’s private affairs, about their feelings.’
(Sad Cypress, part 2, chapter 6)

And it also exposes him to occasional xenophobia.

In the awesome majesty of Mrs Bishop’s black-clad presence Hercule Poirot sat humbly insignificant. The thawing of Mrs Bishop was no easy matter. For Mrs Bishop, a lady of Conservative habits and views, strongly disapproved of foreigners. And a foreigner most indubitably Hercule Poirot was. Her responses were frosty and she eyed him with disfavour and suspicion.
(Sad Cypress, part 2, chapter 4)

He is regularly described as making a ‘foreign’ gesture:

Hercule Poirot said:
‘But, then…?’
He spread out his hands in a wide, appealing foreign gesture.

Poirot is Belgian, not French

It may have been a semi-random stroke to make him Belgian – at the end of her life Christie could only remember it being something to do with the Belgian refugees who arrived in her home town of Torquay at the start of the war – but it had an interesting effect.

This is that most people think he is French and, when Poirot frostily reminds them that he is, in fact Belgian, it unnerves people. It puts them off their stroke. English people, specially in the 1920s and ’30s, had familiar received opinions about the French, but this need to correct almost everyone he speaks to, subtly gives him the advantage, subtly wrongfoots people, and indeed introduces the very notion of subtle distinctions, the noticing of which is very much Poirot’s profession.

Poirot’s method

  1. Trust no-one – everyone is a suspect until proven innocent.
  2. Every witness keeps something back, no matter how trivial, sometimes unconsciously.
  3. Seek out who the crime benefits.
  4. Use order and method to establish the facts and arrange them logically.
  5. Then employ ‘the little grey cells’ to come up with ‘little ideas’ i.e. draft theories, which connect the facts.
  6. Accept no theory which doesn’t accommodate all the facts i.e. don’t jump to conclusions or hold onto pet theories which there is evidence disproving.
  7. Finally, your theory must be congruent with psychology i.e. with the characters of the people involved.

Suspect everyone

‘I am a good detective. I suspect. There is nobody and nothing that I do not suspect. I believe nothing that I am told.’ (Chapter 35)

Arrange the facts in a logical order

  • ‘Let us arrange our facts with order and precision…’
  • ‘I mean nothing,’ said Poirot. ‘I arrange the facts, that is all.’
  • ‘It is nothing,’ said Poirot modestly. ‘Order, method, being prepared for eventualities beforehand—that is all there is to it.’ (all from The Mystery of the Blue Train)

Do not suppress awkward facts

Your theory must fit all the facts. If any facts stick out, do not ignore them (as Inspector Japp notoriously does), adapt your theory.

‘It is certainly curious,’ I agreed. ‘Still, it is unimportant, and need not be taken into account.’
A groan burst from Poirot.
‘What have I always told you? Everything must be taken into account. If the fact will not fit the theory—let the theory go.’
(The Mysterious Affair at Styles, Chapter 5)

And then, the theory you derive from all the facts must pass the final, most important threshold – it must comply with the psychology of the people involved, it must be psychologically plausible,

Poirot and psychology

Psychological plausibility is the last and most important criterion any theory must comply with.

‘The psychology, it is the most important fact in a case.’

In ‘Appointment with Death’ Colonel Carbury asks Poirot how he proposes to solve the murder mystery and Poirot gives a handy summary of his method:

‘By methodical sifting of the evidence, by a process of reasoning… And by a study of psychological probabilities.’ (p.127)

But Christie had a wide-ranging interest in psychology from the start, in at least 3 senses:

1. A key part of Poirot’s methodology is that, once you’ve assembled all the facts and data, the solution must not only fit the facts and evidence you’ve gathered, it must go further and have a psychological plausibility i.e. the person the evidence points towards must be psychologically consistent with a murderer.

The perfect solution must explain everything.

‘It was a solution that fitted the outer facts, but it did not satisfy the psychological requirements.’ (Chapter 28)

2. The psychological moment. In his reconstructions of murders, Poirot often points out that they occur at just the right moment, at a psychological tipping point.

3. General theories of psychological types or personalities e.g. the discussion of inferiority complexes and other complexes in ‘The ABC Murders’.

Dr Tanios was sitting in an armchair reading one of Poirot’ s books on psychology. (Chapter 23)

Or the extended discussion about human nature between doctors Gerard and King in ‘Appointment with Death’.

Poirot’s talking method

The best way to achieve this psychological accuracy, to know whether this or that action could have been performed by this or that character, is to let people talk – either in formal interview situations (which occur in so many of the novels soon after the murder) or in the numerous informal conversations Poirot happens to / manages to have with all the key characters. Let people talk long enough and sooner or later they will reveal themselves!

‘To investigate a crime it is only necessary to let the guilty party or parties talk.’ (Appointment with Death p.217)

Explained at greater length in Death in the Clouds:

‘What a horrible, tricky sort of person you are, M. Poirot,’ said Jane, rising. ‘I shall never know why you are saying things.’
‘That is quite simple. I want to find out things.’
‘I suppose you’ve got very clever ways of finding out things?’
‘There is only one really simple way.’
‘What is that?’
‘To let people tell you.’
Jane laughed.
‘Suppose they don’t want to?’
‘Everyone likes talking about themselves.’
‘I suppose they do,’ admitted Jane.
‘That is how many a quack makes a fortune. He encourages patients to come and sit and tell him things. How they fell out of the perambulator when they were two, and how their mother ate a pear and the juice fell on her orange dress, and how when they were one and a half they pulled their father’s beard; and then he tells them that now they will not suffer from the insomnia any longer, and he takes two guineas; and they go away, having enjoyed themselves – oh, so much – and perhaps they do sleep.’
‘How ridiculous,’ said Jane.
‘No, it is not so ridiculous as you think. It is based on a fundamental need of human nature – the need to talk – to reveal oneself.’
(Death in the Clouds, Chapter 16)

Poirot’s Eureka moment

Towards the end of every story, there’s a Eureka moment when the penny drops, and when Poirot always describes himself as a fool or imbecile for not seeing it sooner.

Then he uttered a grunt. ‘Imbecile that I am! Of course!’ (Dumb Witness, Chapter 23)

Poirot’s big reveal

‘You are probably wondering why I have gathered you all here this evening…

In the course of my association with Poirot I had assisted at many such a scene. A little company of people, all outwardly composed with well-bred masks for faces. And I had seen Poirot strip the mask from one face and show it for what it was – the face of a killer!
(Dumb Witness, Chapter 29)

Actually this classic scene doesn’t happen quite as often as legend suggests, only about 4 or 5 times in the 20 or so novels I’ve read.

Poirot likes to make things difficult

Early on in the books Inspector Japp accuses Poirot of deliberately making everything he’s involved with more difficult than it need be, and thereafter the phrase and accusation recur regularly as, for example, in this little exchange between Poirot and an exasperated Jane Olivera in ‘One, Two, Buckle My Shoe’.

‘Is she dead?’
‘I have not said so.’
‘She’s alive, then?’
‘I have not said that either.’
Jane looked at him with irritation. She exclaimed:
‘Well, she’s got to be one or the other, hasn’t she?’
‘Actually, it’s not quite so simple.’
‘I believe you just like making things difficult!’
‘It has been said of me,’ admitted Hercule Poirot.

Poirot’s OCD

I knew about obsessive compulsive disorder (OCD) but it was only from reading around Poirot that I discovered the existence of symmetry OCD. According to the internet:

Symmetry OCD is a subtype of Obsessive Compulsive Disorder (OCD) where individuals experience intense anxiety or distress related to the alignment, arrangement, or balance of objects and even their own actions. This can manifest as a need for things to be perfectly symmetrical, aligned, or ‘just right’, leading to repetitive behaviours like arranging, ordering, or touching items to achieve this perceived perfection.

Two points. 1) Obviously Poirot’s tendency to rearrange trivial household objects, on a mantelpiece or table top, is intended as an external corollary of his internal need to arrange the facts of a case with method and order and logic. All part of the same tendency. Everything in a case must be arranged just so:

‘But one does not like things that one cannot explain.’ (One, Two, Buckle My Shoe, p.217)

And again, in ‘Evil Under The Sun’:

‘My orderly mind, that is vexed by trifles!’ (Chapter 8)

But 2) the noteworthy thing about Poirot’s OCD is actually, I think, how restrained Christie is about it. In most of the novels there is only one minor momentary instance of Poirot rearranging things: blink and you’d miss it – and in some of the novels it’s not even mentioned at all. I.e. it’s done with surprising subtlety. Just one mention per book is enough to make the point.

Poirot took a little time to speak. Methodically he arranged an ash-tray or two and made a little heap of used matches. (Appointment with Death, p.127)

It’s in ‘Appointment with Death’ that we learn that Poirot insists on cleaning his own shoes. He takes everywhere his own little shoe-cleaning outfit and duster (AWD, p.150). Sweet.

Poirot’s house of cards

In ‘Peril at End House’ Poirot sends Hastings to buy a pack of cards so that he can sit quietly making houses of cards with them. Helps him think. Again, like the OCD, this is underplayed rather than over-used. In fact it only happens once in the 20 or so novels I’ve read.

That night, when I came into the sitting-room about ten o’clock, I found Poirot carefully building card houses – and I remembered! It was an old trick of his – soothing his nerves. He smiled at me.
‘Yes – you remember. One needs the precision. One card on another – so – in exactly the right place and that supports the weight of the card on top and so on, up.’
(‘Peril at End House’, Chapter 17)

Poirot smokes tiny cigarettes

Hercule Poirot, with care and precision, lighted a very tiny cigarette.
(Sad Cypress, part 2, Chapter 1)

Poirot… extracted his cigarette case and lit one of those tiny cigarettes which it was his affection to smoke.
(Evil Under The Sun, Chapter 2)

The bourgeois detective

Jane Olivera is a feisty young American woman who takes against Poirot from the start. But she is the only one who insults him in quite this way:

She paused, then, her agreeable, husky voice deepening, she said venomously: ‘I loathe the sight of you – you bloody little bourgeois detective!’
She swept away from him in a whirl of expensive model drapery. Hercule Poirot remained, his eyes very wide open, his eyebrows raised and his hand thoughtfully caressing his moustaches.
The epithet bourgeois was, he admitted, well applied to him. His outlook on life was essentially bourgeois, and always had been, but the employment of it as an epithet of contempt by the exquisitely turned out Jane Olivera gave him, as he expressed it to himself, furiously to think…
(One, Two, Buckle My Shoe, p.156)

Poirot’s sidekicks

Captain Hastings

Poirot is associated, not least because of the ITV dramatisations, with well-meaning but slow and dim sidekick Captain Arthur Hastings. Hastings appears in Christie’s very first novel, The Mysterious Affair at Styles – in fact he narrates it – before going on to appear in seven further novels:

  • The Mysterious Affair at Styles (1920)
  • The Murder on the Links (1923)
  • The Big Four (1927)
  • Peril at End House (1932)
  • Lord Edgware Dies (1933)
  • The A.B.C. Murders (1936)
  • Dumb Witness (1937)

And there his presence ends until the final Poirot novel, Curtain which, although written in the early 1940s, wasn’t published until 1975.

Hastings obviously plays the role of the Dr Watson figure, the confidant to the great detective, allowing him to ponder the evidence and work through theories out loud, as it were, so that the reader can overhear every stage of the great man’s developing theory, which is half the fun of a detective novel. No sidekick, everything would be locked up in the great man’s mind.

In addition, Hastings is a comic character because he is consistently wrong, slow on the uptake and quick to draw completely the wrong conclusions. Somewhere Poirot explicitly states that he loves having Hastings around because whenever he makes a suggestion or theory, Poirot can be confident it’s wrong and remove it from his list.

But even as I read  the novels through, I myself became bored with Hastings. His dimness wears thin, as does his rather creepy habit of falling in love with any nubile young woman involved in the plot. I can see why Christie eventually dropped him altogether. There are 33 Poirot novels and Hastings appears in just eight.

Colonel Race

Christie’s maturing taste and style are reflected by the appearance of Colonel Race to play the sidekick role. As an Army officer and secret service agent, Race is a much more intelligent and reliable confidant, much more at Poirot’s own level of keen intelligence and insight. He plays a leading role in four novels:

  • The Man in the Brown Suit (1924)
  • Cards on the Table (1936)
  • Death on the Nile (1937)
  • Sparkling Cyanide (1945)

as well as being mentioned in Appointment with Death (1938).

So Poirot has sidekicks to confide in and share the sleuthing with in about 12 of the novels, meaning he is much more of a solo operator in the other 20 or so.

Poirot’s one woman

Sherlock Holmes admired just one woman, the one woman who had outwitted him, Irene Adler, who he ever afterwards refers to as ‘the Woman’.

Well, in another straight steal from Conan Doyle, Agatha Christie gives her world famous detective One Woman who he from time to time remembers with a wistful sigh. In the middle of ‘One, Two, Buckle My Shoe’, Poirot goes for a walk through Regents Park, noting the nursemaids and courting couples, young people everywhere:

They were chic, these little London girls. They wore their tawdry clothes with an air. Their figures, however, he considered lamentably deficient. Where were the rich curves, the voluptuous lines that had formerly delighted the eye of an admirer?

He, Hercule Poirot, remembered women… One woman, in particular – what a sumptuous creature – Bird of Paradise – a Venus… What woman was there amongst these pretty chits nowadays, who could hold a candle to Countess Vera Rossakoff? A genuine Russian aristocrat, an aristocrat to her fingertips! And also, he remembered, a most accomplished thief… One of those natural geniuses…

With a sigh, Poirot wrenched his thoughts away from the flamboyant creature of his dreams… (One, Two, Buckle My Shoe, p.186)

Poirot’s friends in high places

In ‘One, Two, Buckle My Shoe’, we learn that Poirot has friends in impressively high places – exactly like Sherlock Holmes he is said to have saved individual ministers’ bacon or even the entire government.

Poirot called at Scotland Yard and asked for Japp. When he was taken up to the Chief Inspector’s room: ‘I want to see Carter,’ said Hercule Poirot. Japp shot him a quick, sideways glance. He said:
‘What’s the big idea?’
‘You are unwilling?’
Japp shrugged his shoulders. He said: ‘Oh, I shan’t make objections. No good if I did. Who’s the Home Secretary’s little pet? You are. Who’s got half the Cabinet in his pocket? You have. Hushing up their scandals for them.’
Poirot’s mind flew for a moment to that case that he had named the Case of the Augean Stables. He murmured, not without complacence: ‘It was ingenious, yes? You must admit it.’
(One, Two, Buckle My Shoe, p.173)

Sentiments echoed by the CID officer in charge of the Elinor Welman case in ‘Sad Cypress’:

Inspector Marsden smiled indulgently. He said:
‘Got the present Home Secretary in your pocket, haven’t you?’
(Sad Cypress, part 2, chapter 8)

Poirot gets seasick

Miss Brewster, noting the glance, said kindly: ‘You’d soon get that off, M. Poirot, if you took a rowing‐boat out every day.’
‘Merci, Mademoiselle. I detest boats!’
‘You mean small boats?’
‘Boats of all sizes!’ He closed his eyes and shuddered. ‘The movement of the sea, it is not pleasant.’
‘Bless the man, the sea is as calm as a mill pond today.’
Poirot replied with conviction: ‘There is no such thing as a really calm sea. Always, always, there is motion.’
(Evil Under The Sun, Chapter 1)

Poirot’s pitilessness

At the end of ‘Murder on the Orient Express’, having established the identities of the murderers, Poirot famously (well, it’s famous if you know about it) lets them off, letting the authorities believe a false version of events. This is because the murdered man turns out to himself have been a disgusting child murderer and all the murderers had been affected by his terrible crime.

No such luck, though, for the Boynton family in ‘Appointment with Death’. When the evil matriarch, Mrs Boynton, is bumped off suspicion falls on all of them. It takes an outsider, Nadine, married to the (grown-up) son, to beg Poirot to stop his investigations and let the family, which has suffered so much, get on with their lives. But Poirot says no.

Nadine said passionately: ‘I have heard, M. Poirot, that once, in that affair of the Orient Express, you accepted an official verdict of what had happened?’
Poirot looked at her curiously. ‘I wonder who told you that.’
‘Is it true?’
He said slowly: ‘That case was… different.’
‘No. No, it was not different! The man who was killed was evil,’ her voice dropped, ‘as she was…’
Poirot said: ‘The moral character of the victim has nothing to do with it! A human being who has exercised the right of private judgment and taken the life of another human being is not safe to exist amongst the community. I tell you that! I, Hercule Poirot!’
‘How hard you are!’
‘Madame, in some ways I am adamant. I will not condone murder! That is the final word of Hercule Poirot.’
(Book 2, chapter 7)

Same thing happens in ‘Sad Cypress’. Dr Lord argues that even if the woman he loves, Elinor Welman, did murder Mary Gerrard, it was out of jealousy founded on love for the man Mary had won from her (Roddy). Love does funny things to people and so, on that basis, he wants Poirot to investigate the case and help get her off even if she did it. He says:

‘Supposing she was driven desperate? Love’s a desperate and twisting business. It can turn a worm into a fine fellow—and it can bring a decent, straight man down to the dregs! Suppose she did do it. Haven’t you got any pity?’
Hercule Poirot said:
‘I do not approve of murder.’
(Sad Cypress, part 2, chapter 1)

Poirot’s favourite foods

Poirot has a very sweet tooth. He always drinks chocolate for breakfast, a revolting habit according to Captain Hastings in ‘Dumb Witness’. And again:

George entered the room with his usual noiseless tread. He set down on a little table a steaming pot of chocolate and some sugar biscuits.
(One, Two, Buckle My Shoe)

But in ‘Evil Under The Sun’:

Hercule Poirot breakfasted in his room as usual off coffee and rolls.

Well, Christie isn’t on oath to be consistent.

In ‘Lord Edgware Dies’ we learn that Poirot’s favourite dessert is a Baba au Rhum i.e. rum baba.

Poirot’s favourite drink is the non-alcoholic sirop de cassis, ‘syrup of the blackcurrants’ as he puts it, or blackcurrant cordial, not unlike the English cordial, Ribena. In ‘Death on the Nile’ he drinks ‘a double orangeade full of sugar’. No wonder he’s so tubby.

I thought this sweet tooth was going to be ubiquitous but in xxx he also drinks wine and, being Francophone, it is hinted that he is a connoisseur, though this is nowhere dwelled on.

Poirot on English cuisine

‘The coffee in this country is very bad anyway—’ said Poirot.
‘I’ll say it is,’ agreed Mr Raikes with fervour.
‘But if you allow it to get cold it is practically undrinkable.’
(One, Two, Buckle My Shoe)

Like any sensible person, he dislikes tea, or at least the way the English make it, milky and sweet.

Nurse Hopkins was hospitable with the teapot, and a minute later Poirot was regarding with some dismay a cup of inky beverage.
‘Just made—nice and strong!’ said Nurse Hopkins.
Poirot stirred his tea cautiously and took one heroic sip.
(Sad Cypress, part 2, chapter 13)

Poirot’s watch

In her biography of Christie, Laura Thompson says she wasn’t a very humorous woman. Maybe, but her books are. Her books are full of delightful little comic touches. That’s why I read them.

Poirot glanced at his watch, a large grotesque turnip of a watch.
‘Family heirloom?’ enquired Carbury, interestedly.
‘But yes indeed, it belonged to my grandfather.’
‘Thought it might have done.’
(Appointment with Death, Chapter 15)

Poirot likes shoes and feet

‘I came out from my séance at the dentist’s and as I stood on the steps of 58 Queen Charlotte Street, a taxi stopped outside, the door opened and a woman’s foot prepared to descend. I am a man who notices a woman’s foot and ankle. It was a well-shaped foot, with a good ankle and an expensive stocking, but I did not like the shoe…’
(One, Two, Buckle My Shoe, p.215)

Later, in Evil Under The Sun, sitting with oldsters on the terrace of a hotel looking down on rows of half-naked sunbathers:

Major Barry said appreciatively: ‘Good‐looking fillies, some of ’em. Bit on the thin side, perhaps.’
Poirot cried: ‘Yes, but what appeal is there? What mystery? I, I am old, of the old school. When I was young, one saw barely the ankle. The glimpse of a foamy petticoat, how alluring! The gentle swelling of the calf – a knee – a beribboned garter –’
‘Naughty, naughty!’ said Major Barry hoarsely.
(Evil under the Sun, Chapter 1)

Poirotisms

I’ve mentioned how Poirot’s foreignness is raised a number of times. It can also be used for pure comic purposes, as when Christie has Poirot mangle an English proverb or common phrase, as he does at least once in every story. I’ve christened these comic malapropisms ‘Poirotisms’:

‘For the same reason, when she sets out the following day to get rid of the golf clubs, she continues to use the attaché-case as a – what is it – kippered herring?’
‘Red herring,’ Japp said.
(Murder in the Mews, Chapter 10)

Poirot held up a hand. ‘I do what you call explore all the avenues.’
(The Incredible Theft, Chapter 4)

‘Ah, yes, it is what you call the old gasp – no, pardon, the old wheeze, that – to come back for a book. It is often useful!’
(The Incredible Theft, Chapter 4)

‘One has, sometimes, a feeling. Faintly, I seem to smell the fish.’
(Dead Man’s Mirror, Chapter 1)

‘On the contrary, my friend, ‘any old lie,’ as you put it, would not do. Not with a lawyer. We should be – how do you say it? – thrown out with the flea upon the ear.’
(Dumb Witness, Chapter 13)

‘The only thing is – I am afraid.’
‘Afraid? Of what?’
He said gravely: ‘Of disturbing the dogs that sleep. That is one of your proverbs, is it not?’
(Dumb Witness, Chapter 18)

‘It is true that I am pig-headed – that is your expression, I think? Yes, definitely I have the head of the pig,’ said my friend meditatively.
(Dumb Witness, Chapter 21)

Poirot patted her reassuringly on the shoulder. ‘It was the narrow squeak – yes?’
(Dumb Witness, Chapter 26)

‘Bien,’ said Poirot, rising with the check in his hand. ‘We have done our part. Now it is on the knees of the gods.’
(Dumb Witness, Chapter 26)

‘The hotel’s half empty, and everyone’s about a hundred—’
She stopped—biting her lip. Hercule Poirot’s eyes twinkled.
‘It is true, yes, I have one leg in the grave.’
(Death on the Nile, Chapter 2)

Simon said boyishly: ‘You must tell us something about your cases on board the Karnak.’
‘No, no; that would be to talk—what do you call it?—the shop.’
(Death on the Nile, Chapter 4)

‘Up to a point it is all the clear sailing.’
(Death on the Nile, Chapter 16)

Poirot nodded. ‘But for the moment,’ he said, and smiled, ‘we handle him with the gloves of kid, is it not so?’
(Death on the Nile, Chapter 18)

‘I am talking about facts, Mademoiselle—plain ugly facts. Let us call the spade the spade.’
(Death on the Nile, Chapter 19)

Poirot said with a sigh: ‘Alas, the proverb is true. When you are courting, two is company, is it not, three is none?’
(One, Two, Buckle My Shoe, p.188)

Poirot is droll

‘Let us say that I shall have definite proof in my hands tomorrow.’ Dr Donaldson’ s eyebrows rose in a slightly ironical fashion.
‘Ah,’ he said. ‘Tomorrow! Sometimes, M. Poirot, tomorrow is a long way off.’
‘On the contrary,’ said Poirot, ‘I always find that it succeeds today with monotonous regularity.’
(Dumb Witness, Chapter 27)

Poirot’s manservant

George, Poirot’s immaculate and extremely English manservant, opened the door.
(Dumb Witness, Chapter 23)


Related reviews

Noel Coward reviews

Theatre

Short stories

Biography

Noël Coward: A Biography by Philip Hoare (1995)

Philip Hoare’s hefty 1995 biography of Noel Coward is vast, encyclopedic and immensely enjoyable. It feels like it tells you every detail you ever wanted about The Master’s life and yet manages at the same time to be brisk and pacey and immensely readable.

The central take home is Coward’s awesome drive from the earliest age to be a star, a success, to take London’s theatreland then New York’s Broadway by storm, and how this fed his relentless drive to network, know everybody, work the room, schmooze and socially climb climb climb, baby. One minute he’s occupying the poky attic in his mother’s Pimlico boarding house, the next he’s hobnobbing with the greats of British theatre, dining with Somerset Maugham, hanging with Tallulah Bankhead, his understudy is John Gielgud, and then it’s off across the Atlantic to party with Douglas Fairbanks and Mary Pickford, get to know Ben Hecht and Katherine Hepburn, then a luxury liner back across the pond during which he charms Earl Mountbatten and his notoriously promiscuous wife, Edwina. (Hoare has a gossipy page about the scandal caused by her libel case against People magazine which accused her of having an affair with the Black actor Paul Robeson.) He writes a musical with Ivor Novello and his breakthrough play is turned into a film by Alfred Hitchcock, he performs with a young Laurence Olivier, becoming such good friends with him and his wife that there is speculation to this day about whether they had a homosexual fling. Olivier is on the record as saying emphatically not.

And all this culled from just a few years in the mid-1920s. But Coward’s career was to last another 40 years, as he mined a new historical vein in the 1930s (Cavalcade), then made the great patriotic movies of the 1940s (In Which We Serve, This Happy Breed), then reinvented himself as a cabaret star after the war. At each stage, on every page, we meet a host of characters from each era, from Ivor Novello, Cecil Beaton and Michael Arlen, Rebecca West and Virginia Woolf in the 1920s, to his bizarrely close friendships with both Marlene Dietrich and Greta Garbo in the ’30s, and so on and so on, in a never-ending carnival of high grade showbiz gossip.

Coward’s life is like a silver thread guiding us through the glittering worlds of music and entertainment, theatre and film, of his era, as well as the gay underworld scenes in London, New York and select spots around the Mediterranean (Capri, Algiers) and Hoare treats us to and endless supply of fascinating and often hilarious anecdotes. I laughed out loud at the story of American producer Jed Harris in England to cast a production of The Green Bay Tree and going to loads of Shakespeare productions, claiming he was getting very tired of seeing English kings being played by English queens (p.195).

And this is just the socialising and the gossip, before you get to the actual work. Coward’s work ethic was phenomenal and his output prodigious. If this or that play was a disaster, don’t worry darling, there’s always another revue or musical or operetta just round the corner, or a new hit song about to take the gramophone and radio by storm, or a new movie just about to hit the screens, and then there are his books of short stories. And the novel.

He was a phenomenon, able to act, dance, write ravishing musicals, smash hit songs and era-defining plays, and then the great wartime movies. I don’t think genius is quite the right word, but man of phenomenal, extraordinary talents and, above all, the burning, quenchless drive to succeed succeed succeed. As his friend Esme Wynne said, he was:

‘frightfully ambitious… He was full of determination and willpower’ (p.43)

Or as he archly put it in his autobiography:

‘It was a matter of pressing urgency… that I should become as rich and successful as soon as possible.’ (quoted p.63)

Distinctive speech

When a girl, his mother, Violet (1863 to 1954), developed a fever which left her with poor hearing in one ear. This was one reason he developed such an idiosyncratic manner of speech, clearly enunciating every syllable of every word, for her benefit.

Closeness to mother

Violet’s first child, a boy, Russell, died at the age of 6 from spinal meningitis, and this made her especially protective of her second child, Noel (p.10). She cosseted him, and dressed him nicely, and danced attendance. He grew up emotionally spoiled, though not materially, for the family was poor.

Distance from father

Noel’s father, Arthur (1856 to 1937), was a failure. After a series of jobs he became a piano salesman which took him away from home a lot, so was absent during Noel’s boyhood. He was also ineffectual. Eventually he dwindled down to being a sort of servant at the boarding house Violet ended up running.

Suburban

Noel was born in Teddington but the family moved a lot, sometimes out as far as Chobham, living for a while in the Battersea/Clapham area of London, settling in Ebury Street in Pimlico, just north of Victoria Station. I was struck by the fact that next door lived the Evans family, whose daughter, Edith, was to become a dame of the theatre.

He was always aware of his origins in the impoverished lower middle class. Hoare quotes Gertrude Lawrence after they had danced a number in his 1922 review London Calling, standing in the wings and listening to the loud applause and excitedly saying: ‘That’s for us, the two kids from the suburbs. We’ve definitely arrived’ (quote p.119).

Noel

He was named Noel because he was born on 15 December i.e. close to Christmas.

Poverty

When his father’s work petered out, Violet was forced to turn their house in Pimlico into a boarding house, with Alfred helping with the serving and chores. Whenever he made money Noel was quick to pay off the family debts and never lapsed in his attachment to his mother.

But their poverty was easily used as a slur by anyone who wanted to hurt or denigrate him. Before meeting Noel, Cecil Beaton was told his mother was a charlady (p.123). (Compare the universal snobbery against H.G. Wells whose mother was housekeeper at a grand country seat.) For me, it’s this unashamed loyalty to his mother and humble roots which I found the most winning element in Noel’s character, far richer than the so-called wit.

Precocity

What really comes over very quickly is how precocious Noel was and how extraordinarily determined to succeed. He started acting at the age of five and his mother was taking him to auditions and local amateur talent shows before he was 10. At home in Clapham he made a toy theatre and spent the day writing plays for the little puppet figures he made to act out. His first professional engagement was in 1911 at the age of 14, where he appeared in the children’s play The Goldfish in London. By the time he hit his teens he had acted, danced and sung onstage and had a vivid sense of his own potential. He wanted to be a star.

Vicars and sex

He was put off religion by several groping vicars he encountered as a boy. Last year the Archbishop of Canterbury was forced to resign after admitting to not doing enough to sanction or report a paedophile vicar. It is a long tradition within the Church of England but also, of course, within the Catholic Church. Noel never respected either.

Homosexuality

He had homosexual experiences before heterosexual ones. Girls were so much more closely chaperoned and protected whereas boys were encouraged to play, share rooms, go camping etc together. And all without the heart-stopping risk of the life-ruining risk of getting pregnant.

(The ever-present threat of pregnancy is echoed a lot later in the book, when Hoare describes Coward meeting the man who was to be the love of his life, Graham Payn, towards the end of the Second World War. Payn had previously been heterosexual and had numerous affairs with chorus girls. But after the third abortion – ‘and they cost £75 in those days’ – he’d had enough and was ready for a change of orientation, p.358. Compare and contrast Kingsley Amis’s horrible depictions of abortion in his early novels, and the squalid abortion scenes in the 1966 movie, Alfie. Gays were well out of the whole thing. )

Uranians

The Uranians was one of numerous names given to late-nineteenth century associations of homosexuals in the arts who wrote about the love of adolescent boys.

Young Noel was introduced to this world when still a boy via the figure of the painter, Bohemian and prominent Uranian Philip Streatfeild. One version of the story goes that Noel’s mother, Violet, was working as a cleaner, cleaning Streatfeild’s Chelsea studios and one day brough along her 14-year-old son. With his eye for adolescent boy beauty, Streatfeild was taken with Noel and asked him to sit for him. Streatfeild introduced to other artists and performers in his circle (which included Robbie Ross, Alfred Douglas and other survivors from the Wilde circle of the 1890s).

Then, in 1914, Streatfeild asked Violet’s permission to take the boy on holiday with him to Cornwall. Knowing Streatfeild and obviously trusting him, and also concerned for her son’s ongoing health issues in the polluted London air, Violet gave her permission and young Noel was whisked off to Cornwall to meet more stylish gay artists who probably included the distinguished painter of young men Henry Scott Tuke. Here he could sunbathe and swim nude, and be worshipped by older men.

Nobody knows whether he had sex with any of these men but it must have shown the impressionable young boy that homosexuality and the wonderfully sybaritic lifestyle these men led, was possible, was a lifestyle option. Here’s a photo of Streatfeild and Noel.

Philip Streatfeild

Photo of Philip Streatfeild and a teenage Noel Coward

They were in Cornwall when war broke out in August 1914. Coward just seemed to have a magic touch when it came to making contacts. As soon as the war broke out Coward was sent back to London in the charge of a friend of the group, the novelist Hugh Walpole.

Streatfeild enlisted and died a year later from tuberculosis contracted in the army. He was just 35 (p.44). But not before he’d introduced Noel to other members of his regiment, especially the gay officers, who took part in what sound like orgiastic parties (p.36). Thus began Coward’s lifelong attraction to men in uniform and comfortableness around members of the forces of all classes and all sexual persuasions.

Hambleton Hall

Coward’s social ascendancy began thanks to Streatfeild who, before his death, asked wealthy socialite Mrs Julia Astley Cooper to take Coward under her wing. Mrs Astley Cooper continued to encourage her late friend’s protégé, who remained a frequent guest at her estate, Hambleton Hall in Rutland (pages 39 to 43). Among her guests were notables like CK Montcrieff, the translator of Proust, the conductor Malcolm Sargent, the diarist James Lee Milne and so on.

But young Noel not only met and learned how to talk to high-powered members of the literati, but was also trained in the rhythms and decorum of country house living, numerous details of which were crucial to his plays of the 1920s. Mrs Astley Cooper even claimed, a lot later, that he had a little black notebook with him and took down remarks and whole conversations between the Bohemian members of her family and that these turned up wholesale in plays like Hay Fever and The Young Idea. Hoare says his experiences there were ‘pivotal to Coward’s progress’ (p.43).

Penetrative sex

As to sex with any of these Uranians, his close friend throughout his boyhood, Esmé Wynne, decades later insisted that Noel was not homosexually active as a boy. In fact Hoare broadens this out to the claim that he had a lifetime aversion to penetrative sex (p.34). Much later in the book I laughed at the story that he and American producer Jed Harris were having a late night conversation about sex and when Jed asked him if he’d ever slept with a woman, Noel replied: ‘It would be like going to bed with a porpoise’ (p.195). Well, I dare say porpoises can be sexy 🙂

Saki

At Hambleton Hall Noel picked up from Proust as a name to drop (he later named a cat Proust) but the real revelation was the writings of the camp humourist Saki, real name Hector Hugh Munro. Saki’s humorous contempt for the values of the older generation, his worship of camp young men, yet all drenched with a sentimental fondness for the English countryside and the quirks of English life, all of these were things Noel would adopt wholesale. He never got to meet his hero because Munro was killed in the trenches in November 1916, when Noel was just 17.

Esmé Wynne

Noel had a deep boyhood and adolescent friendship with Esmé Wynne (1898 to 1972). They met at child auditions and in 1914 both appeared in the first production of Clifford Mills’ Where the Rainbow Ends. Soon after Wynne attended Coward’s 12th birthday party and their friendship blossomed. In 1912 Wynne had her first writing success at the age of 13 when her first play The Prince’s Bride was put on for one night by Charles Hawtree at the Savoy, including Coward in the cast. From then on they were inseparable, spending time together whenever possible and writing to each other constantly. In 1915 they were part of the cast which undertook a lengthy British tour of Brandon Thomas’s play Charley’s Aunt.

Between acting appointments collaborated on sketches and songs together and wrote a number of one-act plays under the joint pen-name of Esnomel; Ida Collaborates (The Last Chapter) (staged 1917), To Have and To Hold (not staged) and Women and Whisky (staged 1918). They also got up to teenage pranks.

A very naughty boy…

As an adolescent Noel got into all kinds of trouble. He bit teachers, answered back.

He was addicted to shoplifting, pulling off amazing feats of theft, one time simply walking out of Fortnum and Mason with a suitcase, strolling along to Piccadilly to Hatchards, filling it with books and walking out (p.48). On numerous occasions he nearly got caught and had to leg it. This kind of behaviour associates him much more with the urban tearaways of the working class than the soignée upper classes he realised he wanted to move among.

On page 202 Hoare has a passage describing how Noel, arguably, never really grew up, from the childish tantrums he threw in the theatre or with his ‘family’, to his impish subversive sense of humour, his quickness to ridicule royalty, church of state. Kenneth Tynan is quoted as saying he was never entrapped by maturity (p.202). And Hoare thinks Private Lives shows its protagonists having endless wildish tantrums (p.223).

No education

An important point is that he had little or no formal education. He was educated briefly at a choir school and later received dance lessons, but more or less left school at 11 and had no formal schooling thereafter. Forget university, he didn’t get anywhere near finishing secondary school. Instead The Theatre was his education and his teachers and his life. To this lack may fairly obviously be attributed the legendary thinness of his plays and their almost complete lack of depth or meaning beyond the hour and a half’s distraction they provide.

When he published his first volume of autobiography, Present Indicative, in 1937 the novelist St John Ervine was staggered at its shallowness: ‘I was amazed and disturbed at the slenderness of his intellectual resources. [I wonder if he has] ever read a great book, seen a fine picture or a notable play, listened to music of worth, observed a piece of sculpture, or taken any interest in the commonplaces of a cultured man’s life.’ (quoted, p.276)

Piano

He learned some good striking chords with which to open almost any song to get the audience’s attention (p.54). Although he never learned to play the piano very well. I was struck when he himself admits he was only comfortable in three keys, E flat, B flat and A flat. He joked that the sight of sharps on sheet music threw him into a tizzy (p.14).

First World War

In 1918, Coward was conscripted into the Labour Corp. He bribed his way to a day pass and spent it tracking down every contact he’d made via Streatfeild or Mrs Cooper and eventually persuaded a sympathetic officer to phone the CO and get him transferred to the Artists Rifles. But he was useless. Having not attended school since 1918 he had no sense of discipline and esprit de corps. He developed headaches and insomnia, fell and cracked his head and was sent to a hospital in Camberwell mostly filled with shell shock victims. Esme thought he was malingering and even here he made influential friends, and discovered a way of escaping for evenings back in the West End. In June 1918 he was discharged from hospital and sent back to the Artists Rifles camo in Essex where he was given light duties such as cleaning the latrines. Not surprisingly, he developed psychosomatic symptoms again and again was sent to hospital. This one includes lots of epileptic patients and Noel briefly worried that he was one too. Weeks passed and he drafted a bad novel. Eventually, in August 1918 he was given a discharge. He was free to resume his career in his beloved theatre.

In the 1930s Coward wrote as flippantly as possibly about his period in the army, exaggerating for comic effect the extent to which he had faked his symptoms to escape service. This came back to bite him very hard when the Second World War kicked off, not only among his enemies in Britain but also in the States, where his endless foreign travel in the war’s first few years drew extensive criticism.

Elsie April

In 1922 he met Elsie April who worked with many composers to improve and orchestrate their compositions. She was prodigiously gifted. She had perfect pitch. If someone hummed a tune to her in a noisy rehearsal room she was able to notate, harmonise and transcribe it on the spot. Her biographer credits her with introducing ‘the unusual key changes and poignant angularities of phrase’ to be found in Coward’s mature music. I think I know what he means. If you listen to the songs in Conversation Piece it’s rare that a song stays in the same key for more than two lines and the vocal line often jumps dramatically. Although the orchestration is sickeningly sweet, the actual vocal lines are often strikingly jarring and angular.

Burning ambition

He had an extraordinary commitment to becoming successful and famous. In his discussion of heroin and cocaine a propos of The Vortex, Hoare gives the impression that, although mixing in circles which took drugs, he never did himself. He was not the sort. He never lost control. He was always watching and alert and driven.

He devoted himself to making contacts and social climbing while still a teenager. There isn’t space to describe the extraordinary range of artists, writers, poets, playwrights, producers, designers, directors, other actors, as well as aristocrats and even royalty that he met. On a trans-Atlantic liner he managed to get on first name terms with the Earl Mountbatten and his wife. He became so friendly with the dissolute brother of the Prince of Wales that people speculate to this day whether they had a gay affair!

The family

Noel early gathered around him a coterie of friends and collaborators who became known jokily as ‘the family’. One of the earlier members was the actress Lorne Lorraine who became his devoted secretary for 40 years, and is captured as the long-suffering secretary Monica Reid in Present Laughter, and later friends such as his assistant Cole Lesley (recruited when he was working as a shop assistant in Kent, p.272), and his life partner Graham Payn.

‘Bubbers’ is what he called his sacred afternoon nap.

Backchat and bickering

I was astonished when I first read Noel Coward’s plays at the almost complete absence of the famous wit and humour I’d heard so much about. Instead I discovered almost nothing but argument and bickering rising, from time to time, to really angry exchanges and even, in Private Lives, physical attacks.

This view felt a bit like blasphemy against the great man, and I worried I had profoundly misread him, so it’s reassuring to have Hoare quote so many, many critics and contemporaries who entirely agree with my own reading.

The swift, hard, rattling farcical-comedy, at which he aimed so many shots, is brought to glittering perfection in Private Lives. It is technically a masterpiece – not of writing plays but of writing Noel Coward plays. For, as I think we have discovered by now, Mr Coward’s plot is the contrast between brilliant cosmopolitanism and stodgy Anglo-Saxondom, his standby is Infidelity and his device of stagecraft is the Bicker… (author and critic A.G. MacDonnell, quoted p.213)

The Times wrote of Private Lives that the dialogue ‘which might seem in print a trickle of inanities’ became onstage ‘a perfectly times and directed interplay of nonsense.’

The Observer found the play superficial and that the characters’ ‘style is mainly in their clothes; as conversationalists they are mere back-chatterers‘. Looking up back-chat I find it defined as ‘To respond in a disputative, often sarcastic manner’, ‘rude or cheeky remarks made in reply to someone in authority’, ‘the act of answering back, especially impudently.’

Brooks Anderson: the playwright ‘has nothing to say and says it with competent agility for three acts.’

New York Review: ‘They are only adults under the skin. They are really adolescents on long legs.’ (p.229)

But what did Noel care what the critics said? That year (1930) he was declared the highest paid author in the world. Nothing succeeds like success.

Fame and extraordinary output

The Vortex, written in 1923, performed in late 1924, shot him to fame. Hoare cites contemporaries recording that young people started to dress like him, affect his clipped speech, attempted never to be seen without a cigarette or a cocktail in one hand, wore Cowardesque dressing gowns. Like the earlier fad for Valentino and later crazes over Sinatra, Elvis, the Beatles.

The mass media – with the arrival of ever-increasing numbers of newspapers, magazines, radio and silent movies – demands stars and celebrities to write about and he basked in dizzy fame from the premier of The Vortex in November 1924.

And it was followed by a giddy rush of productions, plays, reviews, musicals and some silent movie adaptations of the plays. Old plays he’d written were dusted off and eagerly sought by producers. He turned out new plays at a dizzying rate, alongside songs and music, as well as working on screenplays. It’s a dizzyingly record of work and achievement.

Plays

  • Sirocco (1921) (Revised in 1927)
  • The Young Idea (1922)
  • The Better Half (1922)
  • The Queen Was in the Parlour (1922) (first Produced in 1926)
  • The Vortex (1923) (first Produced November 1924)
  • Easy Virtue (1924) (first Produced in 1925)
  • Fallen Angels (1925)
  • Hay Fever (1925)
  • Semi-Monde (1926) (too rude to be licensed in Britain; first produced in 1977)
  • This Was a Man (1926)
  • The Marquise (1927)
  • Home Chat (1927)

Musicals

  • London Calling! (1922, 1923)
  • Weatherwise (1923) (first produced in 1932)
  • On With the Dance (1924, 1925)

Songs

He wrote lots of songs for the musicals including some wonderful hits, namely:

Failures

But there were failures too. In fact it seemed for a moment like there was a steady decline: after the runaway rave success of The Vortex (1924) and Hay Fever (1925) came two plays which did OK, Easy Virtue (1926) and The Marquise (1927) had been modestly successful. And then two disasters, Home Chat (25 October 1927) and Sirocco (November 1927).

Regarding Home Chat, the Illustrated London News called the play ‘an amusing little trifle on the whole – but it is thin in its material and there are signs about it of hasty and careless composition’.

In the Observer St John Ervine took a similar view: ‘Had Mr Coward spent another week in writing his play it would have been a much wittier one than it is.’

This is very much the view I took of even his most successful plays. Knocked off in a matter of weeks or even days, they all show it in their thinness of plot and characterisation and astonishing lack of wit, of funny or quotable lines. Instead, as I’ve said in my reviews, even his most famous plays basically rely on people getting angry and shouting abuse at each other (true of Hay Fever, Easy Virtue, Fallen Angels, Private Lives).

Anyway, Sirocco did even worse. The first night was a famous theatrical disaster, the worst night of Coward’s professional career, 24 November 1927, pretty much three years to the day after the barnstorming success of The Vortex (25 November 1924). The audience booed and hissed. When he went out the stage door he was spat at. The reviews were uniformly disastrous.

But Hoare draws an interesting point. Coward, he says, realised a great truth from this experience. The media, the press, like to build up celebrities and then knock them down but this isn’t because the press is particularly malevolent. It’s just stupid. In the popular press everything is either black or white, good or bad. You’re either up or down. Coward had had several years of being The New Thing, super-fashionable, adored by his fans. But in the moron press it doesn’t take much to tip you over and as soon as you’re not at the top, you’re at the bottom. Black or white. Up or down. And so it was that just a couple of so-so plays led to excoriating notices and the critics (and some of his cattier friends) saying it was all over, Noel was a busted flush (p.189).

Of course he wasn’t, as the next 45 years (he died in 1973) were to show.

Cavalcade

Philip Hoare sees the 1932 extravaganza Cavalcade as a turning point in Coward’s ideas, that he consciously moved on from the provocative and controversial attitudes of the 1920s plays, with their incessant references to cocktails and cocaine, with their clever riffs on infidelity and sexual immorality. Cavalcade‘s sentimental patriotism inaugurated a new feeling of respect and avoidance of controversy. Those bastions of conservative conformism and backward-looking philistinism, the Daily Mail for the lower middle classes and the Telegraph for the pompous upper middle classes, praised it and the Mail even serialised the script/book.

In 1932 Coward was at the height of his success with Cavalcade making a mint with provincial tours of Private Lives and Bitter Sweet all contributing to the coffers. He bought a mews cottage, Burton Mews in Belgravia, and had it gutted into a huge space appropriate for big parties of the great and the good from the worlds of theatre, movies, aristocracy and even royalty.

I laughed when I read, on page 254, Virginia Woolf writing to her nephew Quentin Bell, complaining that she had to go to dinner with Coward, whose work she ‘despised’. Good old Virginia. His ubiquity as a celebrity turned her against him. And Hoare goes on to quote her quoting Aldous Huxley at some dinner describing Coward as beating an omelette with no eggs: beating and beating and beating, but with nothing there, just the action of the beating. That actually gets close to Coward’s essence: a kind of quintessence of pure ambition, with all the plays and songs and revues merely tools, expedients, to raise their author to that level of superstardom. But when you look at the works closely: nothing there except the frantic beating. The subtext of all of them isn’t Queer, it’s Burning Ambition.

E.M. Forster dined with Coward at Lady Colefax’s, a pushy society hostess, and reported that he spent the entire time talking the most awful drivel. You can easily see how, from Forster’s cultured perspective, this would be true. Hoare entertainingly says that for all their differences in style and depth, Forster and Coward were both middle-class mummies boys.

Second World War

The Second World War came at a good time for Noel Coward. After the madcap Twenties and bleak Thirties, the war redefined Britishness and served as an antidote to the disillusion and decadence of the inter-war period. Its revival of the values of empire and Britain’s greatness was congenial to Coward: the quality of fortitude required (and mythologised) by the war neatly coincided with the fortitude displayed by Noel… the values he espoused dovetailed with the Dunkirk / Blitz / ‘Britain can take it’ spirit and he was able to exploit them fully. Cavalcade had announced his patriotism; the films, plays and concert tours of the early 1940s helped cement his image in the hearts and minds of the British public. (p.329)

In fact it was quite a bit more complicated than that and Hoare gives a fascinating account of how unpopular Coward became in the first few years of the war. He was quickly involved in spying combined with morale boosting trips to France, then America several times, then as far afield as Australia and New Zealand. I was struck to learn that he met President Roosevelt not once but twice, on charm offensives to persuade him to support embattled Britain.

But these busy trips don’t seem to have had much practical outcome and mainly generated critical articles in the press and even questions in the House from MPs asking why he was gallivanting round the globe at public expense. Hoare shows how the deliberate misreporting of his activities and hostile press conferences steadily put him off the small-minded, carping tone of British public life, especially the vendetta against him pursued by the Beaverbrook newspapers, namely the Daily and Sunday Express. Coward got his own back by having a scene in ‘In Which We Serve’ when, after the ship is sunk by Germans, we see a copy of the Daily Express float by with the headline ‘No War This Year’. Lord Beaverbrook was incensed.

There was also an anti-queer undertone. Hoare quotes Joyce Grenfell of all people lamenting in a letter to her mother that Britain should be represented abroad by someone everyone knew was ‘queer’ (p.313) and other commentators, less party to theatrical insider knowledge, still criticised a figure most associated with dainty young things in dressing gowns and slippers mocking all their parents’ values. ‘God, what enemies I must have,’ he wrote in his diary.

When his lovely mews house was bombed out he moved into the Savoy, widely thought to be safe because constructed of steel girders. He overheard a street seller and promptly knocked out the song ‘London Pride’, a popular hit with the people who didn’t read or care about gossip columns and querulous MPs. According to Hoare, a ‘soundtrack to Coward’s war, banal but touching.’

He met Churchill on a number of occasions, lobbying to be given more intelligence work. He was frustrated when Churchill told him not to but to go and sing and entertain the troops i.e. to do what he did best, to entertain and raise morale.

Blithe Spirit

He had been mulling over a comedy about a haunted house, went to stay at Portmeirion in Wales on a brief holiday with Joyce Cary, and wrote Blithe Spirit in just seven days (!). It quickly went into production, opened in the West End on 2 July 1941 and proceeded to break box office records, running for a record 1,997 performances.

In Which We Serve

Soon after Blithe Spirit was premiered Coward was introduced to the producer Anthony Havelock-Allan who was working for Two Cities Films. This company was set up by two Italians, Filippo Del Giudice and Mario Zampi. Two Cities played an important role in British wartime films, producing a series of classics which helped bolster morale including adaptations of Coward’s plays ‘This Happy Breed’ and ‘Blithe Spirit’, along with ‘The Way Ahead’, Laurence Olivier’s ‘Henry V’, ‘The Way to the Stars’.

Noel was asked for a scenario and drew on the recent incident of his friend Louis Mountbatten, captain of a ship that was sunk. This became the germ of the wartime classic movie ‘In Which We Serve’ where the sinking of the ship becomes a pretext for flashbacks to their civilian lives of a cross-section of the crew, and thereby of British society.

Coward was introduced to the established cameraman Ronald Neame, and the editor and wannabe director David Lean, then 33. He brought with him his loyal set and costume designer, Gladys Calthrop.

On the writing front it’s amusing to learn that Coward’s initial idea of a screenplay, starting off in the Far East and featuring a huge cast, would have ended up with a film 7 or 8 hours long. He had to learn what worked and didn’t work on the job.

On the gossip front, I was a bit amazed to learn that during the production Coward had a passionate affair with the glamorous male actor, Michael Wilding, nine years his junior. Reading a book like this makes you wonder whether any of the actors from the classic era were not gay.

In ‘Which We Serve’ premiered in September 1942. In 1943 Coward was awarded an Academy Award for ‘outstanding production achievement’.

After the film was launched, he embarked on a provincial tour playing his three most recent plays – Present Laughter, This Happy Breed and Blithe Spirit – in a package titled ‘Play Parade’. During the day they visited munitions factories and hospitals. When the plays arrived back in London they were triumphant.

Wartime tours

Of the Middle East, then to America for radio broadcasts and to meet Roosevelt (again), a pit stop in Jamaica which he fell in love with, then back to North Africa and then a tour of South Africa, with piano accompaniment from Norman Hackforth and valet and dogsbody by a new employee, the frank and often foul-mouthed Bert Lister. Then is invited by his old friend Mountbatten to tour the Far East, which he does dutifully and exhausts himself, eventually having collapsing and taking R&R in Ceylon.

The film of ‘Blithe Spirit’ opened in April 1945. Coward hated what David Lean had done to it, but it was a box office success.

Post-war

The hectic pace of Coward’s work life doesn’t let up in the immediate post-war years which saw a constant round of revivals of his plays in London, New York and Paris, interspersed with the writing of another musical and a steady stream of new works, which pass almost in a blur.

Jamaica The standout fact is that he fell in love with Jamaica and bought a plot of land on the island’s fashionable north coast, just down the road from Ian Fleming, and had a house built there which was named Blue Harbour. Ironically it was, according to all the guests who stayed, uncomfortable and unhygienic but Coward loved it. The food was, by all accounts, terrible. Said John Pringle:

‘The food was awful, always covered in pickled walnuts… The deserts looked like they’d been made in toilet seat moulds.’ (p.397).

Nudity was almost compulsory, especially round the swimming pool, which some guests found bracing.

The King and I He was offered but turned down the part in The King and I which was then given to Yul Brynner.

Ace of Clubs His musical, Ace of Clubs, was a flop. Hoare implies because his musical director, the immensely talented, Elsie April, had died (1950) and she was the secret ingredient of all his musicals.

Farewell Jack Wilson He finally severed business relations with his former lover Jack Wilson, who had for decades represented him in the US but had become an alcoholic and presided over a run of failed productions.

The Astonished Heart 1950: the film version of ‘The Astonished Heart’, in which he starred, was panned. He had asked Michael Redgrave to play the lead, as the psychiatrist who finds himself torn between wife and lover and ends up committing suicide. But when, in late 1949, Coward saw the rushes, he thought Redgrave was doing it all wrong and squeezed him out of the production. Nonetheless it failed. The original one-act play moves so fast you don’t notice the basic implausibility but stretched to nearly three times the length, the play’s thinness of characterisation became obvious. Variety magazine accurately summarised: ‘While film has a clever veneer, yarn lacks the more basic quality of credibility due to insufficient motivation of the central character.’

Relative Values The next genuine hit was Relative Values (1951), a satire on the Labour government and the new ideas of social equality which the war had seen triumph. It was ten years since he’d written Blithe Spirit. Reviews were mixed but many critics just didn’t like the monologue where the lead character mocks dreams of equality.

Joke Although people go on and on about his tremendous wit, there is in this biography, as in the plays, not a lot of evidence of it. One slight anecdote made me laugh. Walking across Leicester Square with a friend, Coward saw the hoarding for a new film starring Dirk Bogarde and Michael Wilding called ‘The Sea Shall Not Have Them’. ‘I don’t see why not.’ Noel said to his friend, ‘Everyone else has.’

Ann Rothermere Interesting that Ian Fleming’s mistress, who he subsequently married, Ann Rothermere, was a real aristocrat, and so quite disdainful of Noel with his airs and graces and painful reminders that he was on first name terms with various Royals. Trying too hard. Arriviste. On the other hand, what do you expect from a boy from Battersea who would never have the genuine, bred-in-the-bone aristocratic hauteur. Coward attended Ian and Ann’s wedding.

Musicals In 1946 his musical, Pacific 1860, had not been a success. In 1951 another musical, The Globe Review, starring his boyfriend Graham Payn, opened to good reviews. Whereas the next play, Quadrille (1952), was panned.

Churchill visited and they spent time painting together for painting, we now learn, had been a hobby of his since boyhood (p.398). He painted local Black men, looking muscular (p.399). You can see quite a few of them on the Noel Coward website.

Cabaret In October 1951 he undertook an experiment, to perform a solo show of songs at the Café de Paris. This was the start of a new type of career. Over the coming years he slipped in more runs of these kinds of performances before, of course, succumbing to the lure of America.

Apple Cart In 1952 he was persuaded to star in a revival of Shaw’s political satire, The Apple Cart (p.400). The musical After The Ball (1953) was badly directed and performed (p.404).

The coronation He watched the coronation of Queen Elizabeth II (2 June 1953) on television. It was the occasion of his most famous quip. As the carriages of visiting dignitaries rolled past one came into view bearing the huge Queen of Tonga beside a small man. When someone asked who the little man sitting beside the queen was, Noel quipped ‘her lunch.’ The only snag with this bon mot is that Coward himself denied actually saying it. He said it was David Niven (p.401).

Nude with Violin He was working on Nude with Violin, a satire on contemporary art which thinks it is all a hoax. It was 30 years since The Vortex and he had become a crusty old reactionary (p.402). Hoare makes the sweeping and controversial statement that Coward might well have been a run-of-the-mill entertainer and playwright if it wasn’t for his outsider status as a homosexual. It was this outsiderness which gave everything he wrote its edge (p.402). Really? What this book shows is just how many other playwrights, novelists, artists and actors were gay as well starting, for example, with Somerset Maugham and Ivor Novello. If it was his gayness which gave him his ‘edge’, why didn’t the other two popular entertainers have the same ‘edge’? No. As a theory or explanation for Coward’s style it’s a non-starter.

One thing which didn’t change was his amazing facility. He wrote Nude with Violin in just over three weeks.

Autobiographies The second instalment of his autobiography, Future Indefinite was published in 1954. There’s a puzzle here. Coward wrote three volumes of autobiography but they left big gaps. Present Indicative (1937) ends in 1931 while Future Indefinite (1954) starts in 1939 and only goes up to 1945. Why the big gap in the ’30s? He was maybe attempting to fill it with the third volume, Past Conditional, which he left unfinished at his death and which only covers 1931 and 1932.

Violet His beloved mother, Violet, died, aged 91. She had been his uncomplaining rock.

Idiotic I noticed this word recurring in ‘Blithe Spirit’ and then noticed it cropping up in quotes from Coward’s diaries or reported speech, in this biography. I think ‘idiotic’ may have been his favourite word.

  • ‘This week has been fairly idiotic.’
  • ‘I have made one of the most sensational successes of my career and to pretend that I am not absolutely delighted would be idiotic.’
  • In 1956 in Paris he met the Duke of Windsor, now deaf, who he found ‘completely idiotic’.
  • He was in Jamaica during the filming of ‘Dr No’ which was ‘enjoyable but idiotic’.
  • When he learned that half of Hollywood was having Dr Niehans’s rejuvenating injection of goat placenta, he commented ‘They can’t all be idiotic!’

Marijuana We learn that when Laurence Olivier visited Coward, he sought out a neighbour, Morris Cargill and demanded the best ganja. Who knew that Laurence Olivier smoked dope? (p.408)

Jamaica II He moved to a new retreat at a place called Firefly Hill, on the ruin of a lookout tower built by the pirate Captain Morgan (p.397), with a magnificent view of the Blue Mountains sweeping down to the sea, and a sandy beach. He commissioned a local architect to design it but it turned out as ugly as Blue Harbour. According to Ian Fleming its walls all leaked resulting in permanent damp.

Local Jamaican politics inspired him to start what turned into a satirical comic novel, ‘Pomp and Circumstance’ (p.409).

Las Vegas American producers came calling, with offers for salaried writing jobs in Hollywood etc but he didn’t want to be tied down. Instead he opted for a 3-week run of performances in Las Vegas, as his friend Marlene Dietrich had done. His usual accompanist was forbidden a visa so he took up Dietrich’s suggestion of using her accompanist, Peter Matz. According to Hoare, Matz rearranged many of Coward’s songs, giving them a more American swing and arrangement. Coward’s success in Vegas owed a lot to Matz (p.410). $15,000 a week. A bit like the Beatles, his set only lasted half an hour, but was enough to wow the crowd with his presence and charisma. The concerts were recorded and edited into the record Noel Coward in Las Vegas.

He was persuaded to play a cameo part in the movie Around The World In Eighty Days in exchange for a Bonnard painting valued at £4,500.

He rehearsed and performed live on TV a musical special, despite fierce arguments with the crass American sponsors (Ford).

Exile His tax affairs became more and more complicated, with him paying tax in Britain, plus supertax, and tax in America as well sometimes. Now that his mother was dead, his last real tie with the home country, his accountant and tax advisers told him to leave. So he sold up everything, the London house and Goldenhurst in Kent, resigned all his positions, and moved permanently to Bermuda. This was because it was in the sterling zone but had different tax laws. In reality he was to spend more and more time in America, especially Hollywood.

1956 ‘South Sea Bubble’ was one of the three works set in his fictional Pacific country of Samola. It is a comedy built around a strong Diana Cooper-Edwina Mountbatten type figure. As long ago as 1950 Coward had asked Vivien Leigh to play it, and in April 1956 she did, to very good reviews. In September he saw the premiere of ‘Nude with Violin’ in Dublin and was, as usual, sniffy about John Gielgud’s performance, but then Gielgud was sniffy about the play.

But the press continued very anti-Coward, publishing cartoons lampooning the great tax avoider and accusing him of unpatriotism – all of which confirmed Noel in his decision to leave the country and made him more reluctant than ever to return. It depressed him but he was cheered up by publication of the ‘Theatrical Companion to Coward’, latest in a series which had covered Shaw and Maugham.

Osborne The first night of John Osborne’s ‘Look Back in Anger’ on 8 May 1956 sounded the death knell of the old school of drama. It was as radical a breath of fresh air as Coward’s ‘The Vortex’ had been 32 years earlier. The future lay with the Angry Young Men and kitchen sink dramas.

Volcano Coward was working on ‘Volcano’, a play about the storm and stress of a problem marriage, largely based on Ian and Ann Fleming’s marriage with infidelities on both sides.

Bill Traylor He had a disastrous love affair with young actor Bill Traylor who he cast, against advice, in the Broadway run of ‘Nude with Violin’. The play bombed and such as Coward’s insensate pursuit of Traylor that the young actor tries to commit suicide with an overdose of sleeping pills, a scandal which was only just kept out of the papers. Coward was miserably unhappy for months, first at lowering his ferocious self-discipline and then worrying that he would never find true love.

1958 He was tired of Bermuda and thought Jamaica was on the turn. He travelled to France and visited Switzerland, realising he wanted to settle in Europe, in a temperate climate.

Cuba He agreed to a bit part in Carol Reed’s film of Graham Greene’s novel ‘Our Man in Havana’. He had Alec and Merula Guinness to stay first, then they all flew to Havana. Here they met Graham Green and Ernest Hemingway. Namedropping doesn’t get much better. Hemingway hated Noel’s affected manner and endless theatre gossip. Quelle surprise.

Switzerland He finally bought a house overlooking Lac Leman. It was to become his final home. It was dubbed Chalet Coward or, amusingly, the Shilly Chalet.

‘Our Man in Havana’ was released on 30 December 1959 and his role was praised. This opened the door for more cameo roles which were to become a useful source of income (p.453).

Meanwhile his attempt at a serious ballet ‘London Morning’, completely flopped, the music and scenario completely out of date. And his play ‘Look After Lulu’, a translation of a Feydeau farce, also bombed, despite starring Vivien Leigh.

1960 His refusal to exercise, give up smoking or eat sensibly began to catch up with him, as he was stricken with various ailments including phlebitis.

Pinter Surprisingly when he saw The Caretaker in 1960 he was thrilled by it and when he met its author, Harold Pinter, they both realised they had a lot in common: the use of incomplete patter or banter as a style; more deeply, a feel for the theatre not as the expression of the self but as an objective medium for expressing any given situation to the full. In 1963 he put up some of the money to finance a movie version.

Waiting in the Wings about a home for ageing actresses, opened in August 1960. It was savaged by the critics, much to Coward’s anger. The times really had changed and he was de trop.

Pomp and Circumstance His novel was published in November 1960. It wasn’t intended to be literature but entertainment and was reviewed as such. I wonder what it’s like.

Sail Away Hoare describes the immense amount of effort which went into not just writing but staging and funding a lavish musical called ‘Sail Away’ which he hoped would compete with the classic American musicals and provide a tidy pension. it did not. Despite bringing in the same choreographer who’d done West Side Story (1957) and the larger-than-life Elaine Strich. It opened to packed houses in London but was similarly panned. By now Coward loathed theatre critics.

  • The Girl Who Came To Supper
  • High Spirits, a musical version of Blithe Spirit – ran for 373 performances and became one of the smash hit musicals of the season

In the mid to late 1960s his work underwent a revival and a reconsideration. Hay Fever and Private Lives were successfully revived, the National Theatre and then the BBC staged Coward seasons.

He was finally awarded a knighthood in 1970. Apparently Harold Wilson was not too keen, largely because of his brush with the law over tax evasion, but the Royal Family insisted. He was on very friendly terms with Elizabeth, Margaret and their mother.

His health steadily deteriorated. Eventually he could barely walk. He retreated to Firefly on Jamaica where he was looked after by a Black man named Miguel (married, not gay). He suffered from stomach pains, variously diagnosed as cancer or kidney stones. He died one night, collapsing on the bathroom floor, being carried to his bed by Miguel and passing with just this illiterate Black man for company.

Turned out that burial in England was out of the question because of the legal and tax implications. After worrying and consulting friends, Lesley Cole and Graham Payn decided to have him interred in the grounds at Firefly. Later there was a memorial service at the actor’s church in Covent Garden. Several years later a tablet was placed on Poets Corner in Westminster Abbey.

He worried about being forgotten but Coward is still very much remembered. His best songs endure and his best plays are regularly revived. He lived on as he would have wanted to. As to soul and an afterlife and all the rest of it, he despised Christian belief. When he left the stage, he left it, and that was that.

Quips

He found it difficult rehearsing with Claudette Colbert for a TV production of Blithe Spirit, leading to several good jokes. When she apologised for fluffing her lines and said she knew them backwards the night before, Noel said ‘and that’s the way you’re speaking them this morning.’

Colbert was sensitive about having a short neck, so took umbrage when Noel quipped to someone else that ‘if she had a neck he’d wring it.’

When asked on the Ed Murrow show to describe the style of his painting (he’d brought one along to show) Noel joked that it was ‘erratic’. In fact his friends called it his ‘Touch and Gauguin’ style.

Omissions

This is an excellent biography and its thoroughness helps it weigh in at an impressive 605 pages long. It seems churlish to say it, then, but in the last hundred pages I had an increasing sense of how much had been left out. Not about Coward himself, but about the context around him. I realised this when Hoare mentioned the premiere of John Osborne’s play ‘Look Back in Anger’ in 1956, and later mentioned Harold Pinter’s The Caretaker (1960). Later he mentions Coward reading Waiting for Godot. Of course Hoare has to stick to his brief of describing Coward’s life, the writing and production of his musicals and plays, his relations with umpteen producers, directors and actors and backers for them all, and then, of course, developments in his private life – mother dies, lovers come and go.

I think it’s that in the first 400 pages of the biography, up to and including the patriotic films he was involved in during and just after the war, there’s an assumption that Coward in some sense represented the wider times, was the new young thing, represented the febrile 1920s, and popular theatre of the 1930s and then managed to strike a national patriotic mood during the war. Working with David Lean and Laurence Olivier represented the peak of his timeliness.

Then some time during the 1950s he loses it. Play after play, musical and ballet, fail or underwhelm. And then, only very casually and in passing, Hoare mentions Osborne, Beckett and Pinter and we suddenly realise, with a jolt, that the outside world has moved on light years beyond Coward’s light cocktail entertainments.

But this had been going on all the time. For example, his close neighbour and friend in Jamaica, Ian Fleming first appears on page 328, during the war, and Coward knows him from 1948 onwards. But it’s only on page 473, and 13 years later, that Hoare even mentions the James Bond books. Yes the first of these had been published back in 1953 and so the success of the almost annual new Bond book must have transformed their relationship. And yet it isn’t mentioned until the biography is almost over.

What I’m getting at is that at moments like this you realise with a bit of a shock how very narrowly and parochially and blinkeredly the biography has focused entirely on Coward. God knows he was so hard working and prolific there’s easily enough material to fill the 600 pages but it’s here, in the closing passages, that you realise that while we’ve been locked in the Coward bunker, the real world outside has been changing at tremendous speed. (Incidentally, Coward had been offered the role of playing Dr No in the movie, but turned it down. Imagine if he’d said yes!)

Best moment

There are lots of memorable moments but the best one must be the scene of the 66-year-old Noel and the Queen Mother singing a duet of ‘My Old Man Said Follow The Van’ at Sandringham. Hard to beat.


Credit

‘Noël Coward: A Biography’ by Philip Hoare was published by Sinclair-Stevenson in 1995. References are to the 1996 Mandarin paperback edition.

Related links

Related reviews

Leonard Woolf: A Life by Victoria Glendinning (2006)

Leonard and Virginia were agreed that his chief fault was cowardice, and hers was snobbery.
(page 151)

‘If it were not for the divine goodness of L. how many times I should be thinking of death.’
(Virginia Woolf diary 28 May 1931, quoted p.291)

Having read most of Virginia Woolf’s adult work, why read a biography of her husband, Leonard, and not her?

1) Because I’d had enough of Virginia: the essays finished me off, my cup overflowed with Woolf style, snobbery and delirium. 2) I’d learned most of the important facts about her life from the short biographies and notes in each of her novels, and the essays. 3) These notes sometimes referred to books by Leonard, notably a book he wrote called Quack! Quack! mocking the 1930s dictators, Mussolini and Hitler, which intrigued me. He wrote two novels, over 15 books of political science, was a committed socialist, literary editor, publisher, and wrote six volumes of autobiography. Does anyone ever read these? No.

So 4) Leonard is the underdog. The critical industry around Woolf is now mountainous – as Glendinning puts it, ‘There is a small mountain of books and articles on the life and work of Virginia Woolf’ (p.502) – and will only increase year by year. She is a patron saint of feminist writing, as iconic as fellow feminist saints Frida Kahlo and Sylvia Plath. There are lots of biographies of her, hundreds of books and tens of thousands of critical essays about her writing. But what about the mystery man who loved and supported her throughout the years of her great achievements, who tried to manage her recurring bouts of mental illness, who co-founded and ran their famous Hogarth Press? Let’s find out.

Jewish

Woolf was Jewish. He came from a large and extensive Jewish family. I enjoyed Glendinning’s handy summary of the history of the Jews in England, their slow liberation from various legal and customary restrictions during the nineteenth century, and then the transformation in the size of the Jewish population and in attitudes towards them triggered by the mass immigration of Jews from Russia in the 1880s and ’90s.

This more than quadrupled the size of the Jewish community in England and, because so many of them were very poor, from peasant communities, and often settled in the slummiest parts of the East End, it was this mass influx which gave rise to the casual antisemitism you find (distressingly) in so many Edwardian and Georgian writers (Saki and D.H. Lawrence spring to mind. The fact that Virginia includes antisemitic comments in some of her novels, and was regularly casually antisemitic in her letters and diaries – ‘I do not like the Jewish voice, I do not like the Jewish laugh,’ (p.189) – requires a separate explanation).

Father

Woolf was born in London in 1880, the third of ten children of Solomon Rees Sidney Woolf (known as Sidney Woolf), a barrister and Queen’s Counsel, and his wife Marie, maiden name de Jongh). Both parents were Jewish, and from extended families. This is why Glendinning needed four pages to depict the full, extended family trees of both parents. At various points, family members are quoted jokingly referring to it as ‘the Woolf pack’. From time to time grown-up Leonard, feeling sorry for himself, referred to himself as ‘a lone Woolf’.

The family lived at 101 Lexham Gardens off the Earl’s Court Road. The household was:

an example of a typical, well-to-do Victorian way of life, underpinned by an unquestioned social hierarchy and set of values. (p.13)

As a young man Leonard was conscious of ‘the snugness and smugness, snobbery, its complacent exploitation of economic, sexual and racial classes’ (quoted p.15).

We are told all kinds of things about Sidney Woolf but the single most important fact is that he died in his prime, in 1892, aged 47 (p.23). He had earned a lot as a lawyer and that income ended overnight. Now relatively impoverished his widow, Marie, was fortunate enough to have a legacy to live off. She hung on at Lexham Gardens for two years then moved the family to a smaller house further out of town – 9 Colinette Road, off the Upper Richmond Road in Putney.

School

After prep school, Leonard was sent to the prestigious St Paul’s School in west London. Lots of anecdotes, prizes and whatnot, but the important thing is that it was as a slight, shy, Jewish teenager that he developed what he called his ‘carapace’, the protective shell he was to deploy for the rest of his life.

Trinity College, Cambridge

In 1899 he won a classical scholarship to Trinity College, Cambridge. Glendinning vividly paints how he encountered a small group of fellow undergraduates who became soul mates, including the flamboyant Lytton Strachey and the hulking great Thoby Stephen, nicknamed The Goth, son of the biographer Sir Lesley Stephen and brother of the sisters, Vanessa and Virginia Stephen, the second of which Leonard was, of course to marry. But Strachey was the man. Before he’d arrived at Cambridge Strachey was a fully-formed individual with outrageous views and a particular way of speaking which influenced all his friends. Leonard became closer to Lytton Strachey than anyone else in the world, calling him ‘the most charming and witty of human beings since Voltaire’ (p.189).

I tend to think of E.M. Forster as being an old man, but he was actually a year younger than Leonard and they got to know each other at Cambridge.

Leonard was elected to the elite discussion society called The Cambridge Apostles and it is fascinating to learn the rules of this elite club and the kind of topics they discussed. When I was a sixth-former I read A.J. Ayer, learned about Logical Positivism, and went on to read Wittgenstein, all of which convinced me that talk of Beauty and Love and Truth and God is enjoyable, entertaining but ultimately meaningless.

More precisely, they may have a psychological importance and impact on the people who discuss, write and read about such topics, but they don’t really relate to anything in the real world. They derive from a misunderstanding of language. Because we talk about a good meal, a good person and a good day, it’s easy to be deluded into thinking there must be something they have in common. Plato started the ball rolling by writing dialogues in which Socrates and his followers endless debate the True Nature of The Good. Two and a half thousand years later, clever undergraduates at Cambridge were doing just the same.

I follow Wittgenstein in believing there can be no answer to these kinds of questions because they are non-questions based on a misapplication of language. Viewed from a correct understanding of language i.e. that language consists of a vast number of language games – then any given use of language may or may not be appropriate to the vast number of language games people continually play, invent and evolve and self-important Oxbridge discussions of these great big concepts simply take their place among myriads of other linguistic interactions.

Anyway, all this was to come. For the time being these clever young men thought Truth and Beauty were excellent subjects to write long papers about and present at gatherings of like-minded chaps who all considered themselves part of a literally self-selecting intellectual elite, the Apostles. Members of the Apostles included Leonard, Strachey, E. M. Forster and a year or so later, John Maynard Keynes. Thoby Stephen (his future wife’s brother) was friendly with the Apostles, though not a member himself. What comes over from Glendinning’s comprehensive accounts of these meetings and discussions is how absolutely irrelevant everything they discussed is to us today. Here are the dates of Leonard and significant contemporaries:

  • E.M. Forster b. 1879
  • Lytton Strachey b.1880
  • Thoby Stephen b.1880
  • Leonard Woolf b. 1880
  • Clive Bell b.1881
  • John Maynard Keynes b.1883

G.E. Moore

All of them were deeply in thrall to the moral philosopher George Edward (G. E.) Moore (1873 to 1958), himself an older member of the Apostles. They were still undergraduates when Moore published his influential book, Principia Ethica, in 1903, which was concerned with that age-old problem, What is the good? Moore decides that ‘the good’ is ultimately unknowable, so that:

By far the most valuable thing, which we can know or can imagine, are certain states of consciousness, which may roughly be described as the pleasures of human intercourse and the enjoyment of beautiful objects.’ (p.63)

1. The pleasures of human intercourse and 2. the enjoyment of beautiful objects. Friends, lovers and art. Or, as Wikipedia summarises it:

that the summum bonum lies in achieving a high quality of humanity, in experiencing delectable states of mind, and in intensifying experience by contemplating great works of art,

Moore’s conclusions led his book to be treated as a kind of Bible by the network of friends which came to be known as the Bloomsbury Group, validating their belief that human relationships are what count most: Love and Beauty. Sounds like Keats, doesn’t it, from almost a century earlier? Glendinning quotes John Maynard Keynes’s extravagant response to Moore’s theory: ‘It seemed the opening of a new heaven on a new earth’ (p.64).

The thing to understand is that the younger generation experienced this as a tremendous liberation from the oppressive burden of Victorian beliefs in duty and honour and nation and empire and queen and country and all the rest of it. For believers like Leonard the book stripped away centuries of oppressive religious beliefs, shedding the calm light of common sense on the agonising questions of how to live and what to believe.

‘Isn’t that the supreme, the only thing – to be loved.’ (Strachey, quote p.98)

But there were plenty of critics who mocked these earnest young believers. Glendinning quotes Beatrice Webb’s shrewish view that the book had little or no value and simply gave the young generation who worshipped it ‘a metaphysical justification for doing what you like’ (p.65).

Glendinning herself criticises the Principia because:

  1. Its unquestioning definition of The Beautiful was heavily Victorian and becoming out of date as the new aesthetics of the 20th century kicked in
  2. Moore’s idea of the good life was very passive and quiescent i.e. simply ignored the active life of politicians, engineers, administrators, people who did things. It was a privileged academic’s conclusion that the best possible way of life was… to be a privileged academic.
  3. No sex please, we’re British: Moore’s ‘asexual mind-set seemed to preclude the “intrinsic value” of any “state of consciousness” elicited by anything more urgent than affection’ (p.63). In other words, Moore’s was a very pallid, underpowered, sexless view of human emotions.

Choice of career and the Civil Service exam

Woolf was awarded his BA in 1902 but stayed on at Cambridge for another year to study for the Civil Service examinations which he took in the summer of 1904. He got a low pass, 69th in the list, and was offered a job as an imperial administrator in Ceylon. First he went the round saying goodbye to his uni friends and this included dinner at the Stephens new house. Sir Leslie Stephen had recently died (February 1904) and his children had moved out of the gloomy family house in Hyde Park Gate to a roomier lighter one in Bloomsbury. Visiting his friend Thoby (the Goth), meant meeting the two beautiful sisters, Vanessa and Virginia. Glendinning points out that the latter was still recovering from the nervous breakdown triggered by her father’s death, one of what was to become a string of breakdowns and mental health problems. During this breakdown she had made the first of several suicide attempts (p.129).

Ceylon

Woolf was in Ceylon for 7 long years, 1904 to 1911. Glendinning makes the point that he met hundreds of native Sinhalese and Tamils but never became friendly with one of them. He liked Ceylon, some of the scenery was breath-taking. He wrote that the jungle:

‘is a cruel and dangerous place, and, being a cowardly person, I was always afraid of it. Yet I could not keep away from it.’ (quoted p.109)

, but he became an increasingly conflicted imperialist. As he was slowly, systematically promoted, he found himself adjudicating law cases and arguments and realised the only thing to do was be as strict and impartial as possible. At the same time he came to hate the impact many imperial laws and restrictions had on the natives.

Glendinning gives a vivid and fascinating account of all this, based on the twin sources of the official diary he kept of his duties, along with the many letters he exchanged with his friends back in England, Thoby, a friend called Saxon but above all Lytton Strachey.

He lost his virginity to a Singhalese woman and seems to have had occasional sexual encounters, but didn’t keep a native mistress as many other young male imperial administrators did.

The conversation of whores is more amusing than the conversation of bores.

The correspondence with Lytton back in England, in Cambridge, is extraordinarily candid about sex. Lytton deploys what he himself calls ‘the dialect of their intimacy’ (p.146). Lytton was a promiscuous homosexual who needed to be falling in love with new young men all the time. Glendinning quotes liberally from his letters which depict not just his sex life, but the sex lives of those in their set or circle, including Duncan Grant, Clive Bell and Keynes. For example, where he explains that he is having an affair with Duncan Grant, who is also sleeping with Keynes. Lytton and the others delighted in using the word ‘copulate’, in a self-mocking tone.

‘I copulated with him [Duncan] again this afternoon, and at the present moment he is in Cambridge copulating with Keynes.’ (p.115)

As always, it’s the promiscuity of gay men which staggers me, compared with the, as far as I can tell, complete chastity of their female contemporaries, specifically Virginia and Vanessa.

A note that Leonard’s sister, Bella, came out to Ceylon in 1907. She married a colonial administrator, Robert Heath Lock, Assistant Director of the Peradeniya Botanical Gardens, near Kandy in 1910. She wrote children’s books and the first tourist guide to Ceylon. She was one of many voices advising Leonard to get married. She merits a Wikipedia page of her own.

The Longest Journey

While Leonard was in Ceylon, his friend E.M. Forster published an autobiographical novel, The Longest Journey which describes the coming-to-maturity of young Frederick ‘Rickie’ Elliott, including lengthy descriptions of his time as an undergraduate at Cambridge. Critics think the character of Stewart Ansell, the clever student which Rickie’s and their circle look up to, is at least partly based on Woolf. Certainly the flashy pseudo-philosophical conversations at Cambridge which the novel opens with, are based on The Apostles. Woolf and Strachey both hated it.

Back from Ceylon

After seven years service Leonard was given an extended leave to return to England. Glendinning quotes many of the colleagues and managers in the Colonial Service who advised him to get married. it’s interesting to read the opinions of quite a few contemporaries all advising that marriage is the best thing or only thing which a young man can do to acquire focus and purpose in his life. ‘Marriage was the only way forward’ (p.120).

We know from their letters and diaries that it was Lytton who first proposed to Virginia, in a panic that she might accept (p.114). You have to have followed the text quite closely to understand why this flamboyant queer would even consider such a mad move in the first place. She sensibly turned him down.

Virginia’s character As the focus of the story turns towards Virginia Stephen, Glendinning gives a useful profile and description of her (pages 128 to 130). The bit that stood out for me was the notion that her mother was aloof and distant, so that the girl Virginia hardly ever had time with her alone.

In adolescence and beyond, she became emotionally attached to older women. (p.128)

Aha, I thought – this sheds light on the warmth and fondness for mother figures and older women which you find in her fiction – Betty Flanders, Clarissa Dalloway, Mrs Ramsay, Lucy Swithin.

Virginia’s physicians We learn about the wonderfully named Dr Savage, the physician treating her mental illness, and that he had treated her father for depression, and one of her cousins, who ended up committing suicide. Also, we learn that her sister, Vanessa, was also prey to anxiety and depression. She had her own ‘nerve doctor’, Dr Maurice Craig of 87 Harley Street. So was it genetic?

Brunswick Square The Stephens children moved again, to 38 Brunswick Square, and invited several friends to move in and take rooms. Among these was Leonard who moved in on 20 November 1911. Their wooing was slow and painful.

The Aspasia Papers Constant company led Leonard to fell deeper and deeper in love with the beautiful, mercurial, charismatic Virginia, who he came to nickname Aspasia. This was the name of the wife of Pericles (495 to 429 BC), leader of Athens during its so-called Golden Age. He wrote descriptions of her and these expanded to become sketches of the entire social circle or set, all under pen-names, eventually called the Aspasia Papers. The whole gang he joking referred to as The Olympians.

Leonard proposes to Virginia On 10 January 1912 he proposed to her. This upset her so much she took to her bed. But over the following weeks he maintained his suit and the great day came on Wednesday 29 May when she acknowledged the loved him. They told the gang who reacted in different ways. Rupert Brooke claimed it was Leonard’s sexual know-how that got her. He described her eyes lighting up when Leonard described having sex with prostitutes in Ceylon. Put simply, he was the only man she knew who wasn’t gay and had had sex. With a woman!

He was 31, she was 30, both getting on a bit.

Quits the Colonial Service The Colonial Office required him to end his leave and return to Ceylon by May at the latest but Leonard realised he couldn’t go back, and after some surprising shows of flexibility by Whitehall, he eventually resigned his position. Now what was he going to do? He was writing a novel and had written some short stories, but hadn’t made any money from them.

Wedding They were married on Saturday 10 August 1912 at St Pancras Registry Office, a very small low-key affair. As Glendinning puts it:

Leonard and Virginia were agreed that his chief fault was cowardice, and hers was snobbery.
(p.151)

And both faults lay behind his failure to invite his mother to the wedding. Not being invited to the most important day of a son for whom she had made such sacrifices as a single mother deeply hurt her.

Sex

Glendinning (like all their friends) moves onto the subject of sex. Virginia seems to have got to the ripe old age of 30 without every experiencing sexual feelings. This is what you’d deduce from her novels and essays which have a kind of hallucinatory sexlessness. So she didn’t have a clue and he wasn’t savvy enough to be a teacher. He’d only slept with a few Singhalese prostitutes and prostitutes are 1) experienced and 2) compliant. Apparently when Leonard went to make his move, Virginia became increasingly anxious and over-excited in the way which preceded her breakdowns so he had to desist. Permanently.

Glendinning cites a letter exchange of 1933 with Ethel Smyth the feminist composer, where they talk about a news story that young women are having operations to break their hymens ahead of getting married, and joke about going to have the operation themselves. Woolf was 51 and apparently serious. Glendinning concludes from this and plenty of other evidence that Leonard and Virginia never had penetrative sex, so the marriage was never consummated in the normal way. Within a year they took to sleeping in separate rooms and never again slept together.

Events

Breakdown and suicide attempt After the marriage Virginia’s anxiety, nerves and depression grew worse. She became extremely anxious about the likely reception of her first novel, ‘The Voyage Out’. They went to the country hotel to celebrate the first anniversary of their honeymoon but it was a disaster. Virginia had high anxieties about food and refused to eat. Back in Brunswick Square, unattended for a few hours, she took an overdose of veronal (100 grains of veronal) sleeping pills. Prompt action by Keynes’s brother, Geoffrey who was staying in the house, and a stomach pump, saved her life but this necessitated a round of carers, nurses, consultations with the three physicians now treating her.

The Village in the Jungle In the middle of all this Leonard’s first novel, The Village in the Jungle, was published to good reviews. It’s set in Ceylon but not among the white ex-pat and colonial community, instead it entirely habits the minds of poor Singhalese villagers. And it’s written in what, for the times, was very plain factual English, what Glendinning calls ‘spare and unmannered’. Woolf’s old boss, Sir Hugh Clifford, wrote that:

‘Your book is the best study of Oriental peasant life that has ever been written, or that I have ever read.’ (p.168)

It’s available online and I’ve read and reviewed it for this blog.

Virginia Woolf was five feet ten inches tall. She had a ‘cut glass accent’ (p.299).

The Women’s Co-operative Guild The misery with Virginia lasted for months. Throughout this period Leonard became involved with the Women’s Co-Operative Guild, led by its young and energetic president, Margaret Llewelyn Davies. He went to meetings and the annual conference and write articles to promote their work.

He was by this stage writing lots of articles and reviews for a variety of journals, including the New Statesman.

Exempted from war service When the war came the army was at first fuelled with volunteers. The Military Service Act of 1916 widened the age of conscription to all men aged between 16 and 41. Leonard was 35 but underweight and anxious, with a permanent tremor in his hands. In the next three years he underwent three medical examinations but each time presented a letter from his doctor exempting him, predicting that if he were conscripted he would have a physical and mental breakdown within months.

The Fabian Society As well as the Women’s Co-Operative, Leonard had been collared by Sidney and Beatrice Webb, leading lights of the Fabian Society, who were always recruiting likely young chaps for their cause. Sympathetic to gradualist socialism based on facts and figures, Leonard was commissioned to research and write various reports. Thus in 1916 was published the result of extensive researches, his International Government. The book’s central proposal was for an international agency to enforce world peace, and he went on to join a number of the organisations lobbying for a League of Nations to be set up, becoming friendly with the genial H.G. Wells in the process.

Labour Party Leonard joined the Labour Party and helped research and write policy papers. Women’s Co-Operative, League of Nations charities, Fabians and Labour, he wrote research papers, pamphlets and books for all of them. His next book was the thoroughly researched Empire and Commerce in Africa.

1917 Club As a left-winger Leonard welcomed the Russian Revolution. As promptly as December 1917 he helped set up the 1917 Club in Soho as a discussion forum.

The Hogarth Press In 1917 the couple bought an old printing press for £19 and set it up on the dining room table of Hogarth House in Richmond and taught themselves how to use it, to print pages and stitch them together into books. Their first publication was Two Stories, one by Leonard, one by Virginia. Hers was The Mark On The Wall, a free-associating flight of fancy. It was her first published story. His old friend Lytton Strachey immediately saw it was a work of genius. But as Virginia’s confidence grew, Leonard’s shrank. He had published two novels but began to lose faith. He was happier writing factual books.

Mark Gertler, Lady Morrell, Katherine Mansfield They make friends with Mark Gertler, self-obsessed Jewish painter and lover of Dora Carrington. At Garsington Manor, home of Lady Ottoline Morell, they meet the New Zealand short story writer Katherine Mansfield and her husband, the editor John Middleton Murray. They agreed to published Mansfield’s 68-page story The Prelude on their press

Leonard produced another book, Co-operation and the Future of Industry and agreed to edit a journal called International Review. The publishing sensation of 1918 was his old friend, Lytton Strachey’s debunking work of biography, Eminent Victorians.

In the war one of Leonard’s brothers, Cecil, was killed and one, Philip, badly wounded.

Recap When the war ended Glendinning summarises that Woolf had established himself as a documentary journalist and political propagandist, an experienced public speaker and author of distinguished books, as well as a seasoned book reviewer, and publisher in his own right. He was a behind-the-scenes figure in the growing Labour Party and was offered a seat to contest as an MP but, after some hesitation, turned it down.

James Joyce In April 1918 Harriet Weaver, patron of The Egoist magazine, approached them with the unfinished manuscript of James Joyce’s Ulysses but they had to turn it down. Far too big for their expertise, it was rejected on the grounds of obscenity by the two commercial printers they approached. Obscenity was Virginia’s central objection to Joyce, see her essay Mr Bennett and Mrs Brown (1923). She couldn’t get past her snobbish aversion to his references to peeing, pooing and the male anatomy. (The book’s central character, Leopold Bloom, has a bath and idly watches his willy floating in the water.) In her own fictions, almost all references to the body, let alone sex (God forbid) are rigorously excluded, which helps to give them their strange, bloodless, ethereal character.

Woolf’s problematic reaction to Joyce (admiration, envy, rivalry, disgust at his physicality) are explored in two excellent essays by James Heffernan:

T.S. Eliot Conversation with Weaver turned to her other protegé, T.S. Eliot, who they invited to tea to discuss whether he had anything to publish. As a result they published seven of his poems in a small edition of 140 in November 1919. Initially stiff and inhibited, Eliot became friends with Virginia who referred to him, unpretentiously, as Tom. He, like Leonard, was to become carer to a mad wife. He was six years younger than Virginia (born 1888 to Virginia’s 1882). (Later Glendinning wryly notes that ‘Eliot continued to consult Leonard as an expert on mad wives,’ p.265. Ten years later they could have both helped Scott Fitzgerald with Zelda.)

Monk House In 1919 they were meant to go down to Cornwall to join the ménage which had been set up by D.H. Lawrence, his wife Frieda, Middleton Murray and Mansfield – but never did. They had been used to a place in the country named Asheham House but it was sold by the owner. They looked around and settled on Monks House in the village of Rodmell in Sussex. They paid £580 plus £120 for the freehold. This is now a National Trust property. When they moved in it had no running water, electricity or toilet facilities. These two highbrows put up with conditions which would nowadays as unfit for human habitation. Leonard became addicted to working in the garden and had to be dragged away to take Virginia for constitutional walks.

Back in London they bought a bigger press and began to consider the Hogarth Press as a commercial venture. They published Virginia’s story, Kew Gardens. It was 1919 the year of the Paris Peace Conference and Leonard nearly went. They printed Leonard’s Three Tales from the East with a cover by Dora Carrington, to very positive reviews.

Friends’ success Lytton had become a famous name with his Eminent Victorians and Keynes became famous for writing a scathing indictment of the peace terms imposed on Germany in The Economic Consequences of the Peace (December 1919). But although much of Leonard’s research for International Government was used by the British government or other organisations at the Conference, he got little recognition.

Empire and Commerce in Africa: A Study in Economic Imperialism (1920) a scathing indictment of British imperial policy in Africa. He was writing for the New Statesman and wrote leading articles on foreign affairs for the Nation. He was secretary to the Labour Party Committee on International and Imperial Questions. He was in the loop.

The Memoir Club Molly McCarthy set up the Memoir Club to bring together old pals from Cambridge to read works in progress. A propos of this you realise that Leonard, the man, was the objective authoritative and grounded one; Virginia, the woman, was flighty, solipsistic, experimental (p.237).

Gorki and the Russians In 1919 Maxim Gorky sent a friend of theirs, Kotelianski, a manuscript of his life of Trotsky, which he brought to the Woolfs. Thus began a series of careful translations of contemporary Russian literature by the Hogarth Press.

Teeth out In June 1921 Virginia had another nervous collapse. It is mind-boggling to read that some experts thought that having your teeth extracted was a cure from mental illness. On this occasion she had three pulled out. By the end of her life she’d had all her teeth pulled out by these experts.

Jacob’s Room In November 1921 she finished writing Jacob’s Room but with the end of any book came a rush of doubt, anxiety and sometimes collapse. She had come to rely on Leonard entirely, and he had evolved to know his place was by her side and supporting. At the time of the peace conference he had been asked to travel abroad, the Webbs asked him to visit Bolshevik Russia and report back, but he turned all offers down in order to remain by Virginia’s side. This makes him a hero, doesn’t it?

Passage To India Leonard played a key role in helping Morgan Foster complete his most important novel, A Passage To India, when Forster had severe doubts and thought of abandoning it (p.242). Passage was published in 1926 and made Forster famous and financially secure. Leonard was the grey eminence behind it.

Stands for Parliament Leonard stood as a Labour candidate for Liverpool in the 1922 General Election but, thanks to his lacklustre speeches about international affairs and against imperialism, came bottom of the poll. It was a relief.

Literary editor

‘I expect you have heard that, having failed as a) a civil servant b) a novelist c) an editor d) a publicist, I have now sunk to the last rung… literary journalism. I am now Literary Editor of The Nation and Athenaeum.’ (letter to Lytton Strachey, 4 May 1923)

The salary, £500 a year, gave the couple some financial stability and coincided with the start of ‘the most prolific and successful period of Virginia’s writing life’ (p.248). She had published Jacob’s Room and started the long process of writing Mrs Dalloway and was, in addition, writing important essays and reviews.

Leonard’s literary positions Wikipedia gives a handy list of Leonard’s editorial positions:

  • 1919 – editor of the International Review
  • 1920 to 1922 edited the international section of the Contemporary Review from 1920 to 1922
  • 1923 to 1930 – literary editor of The Nation and Athenaeum (generally referred to simply as The Nation)
  • 1931 to 1959 – joint founder and editor of The Political Quarterly from 1931 to 1959

The Waste Land It’s a bit mind-boggling to learn that the Hogarth Press published The Waste Land and the type was set in the household larder. ‘Tom’ was pleased with the typescript and layout. In the same year he established a literary magazine of his own, the Criterion and he and Leonard now were friendly and conspiring literary editors, swapping reviewers and ideas. Tom became a regular visitor to their house, mostly alone, in fact maybe a bit too often as his marriage with the mentally unstable Vivian sank into misery.

Glendinning very entertainingly punctuates the key events of Leonard’s life with a roundup of what all the other Bloomsburies were doing, which is mainly having hetero or bisexual affairs with each other. A little grenade was thrown into the mix when Keynes announced he was not only in love with, but going to marry a dancer from the Ballets Russes, Lydia Lopokova (p.249).

52 Tavistock Square Virginia felt out of it in Richmond and wanted to socialise more. So they sold Hogarth House (for £1,350) and rented 52 Tavistock Square for £140 a year.

Vita Sackville-West At this time Virginia met and became friends with socialite and author Vita Sackville-West. She was married to diplomat Harold Nicholson but they led separate lives, he with a string of boyfriends, she having affairs with women and, eventually, with Virginia. They became ‘tentative’ lovers for about three years. But sex was alien to Virginia’s nature and Vita was a passionate collector of conquests.

Labour As well as working full time as literary editor of the Nation, he continued to be secretary to Labour’s Advisory Committee on International and Imperial Questions. He drafted the foreign policy section of Labour’s 1929 manifesto. Throughout the 1920s he campaigned for India and Ceylon to be given independence. If they had, he later wrote, the murder and mayhem of the independence struggle and the catastrophe of partition would never have happened.

Freud The Hogarth Press embarked on publishing the complete works of Freud being translated by James and Alix Strachey. This project carried on into the 1960s, long after Leonard had parted company with Hogarth, and they’re the edition I own, as republished by Penguin. Despite this, Leonard grew more anti-analysis as he grew older. I’ve reviewed quite a few of Freud’s works:

Vita It became a love affair in December 1925. They took trouble to conceal the full depth of it from Leonard.

Car In August 1927 he bought a car. He drove Virginia all round the country. They drove to the south of France. He wrote that nothing changed his life as much as owning a car.

Mrs Dalloway was published by the Hogarth Press on 14 May 1925. The Common Reader, a volume of 21 short literary essays, was published the same year, and the following year was the first one in which Virginia’s income exceeded Leonard’s. In 1927 her masterpiece To The Lighthouse was published. In 1928 she earned £1,540 to his £394.

Nicknames Virginia never called him Len, she called him Leo. From the start of the marriage they had numerous nicknames for each other but the enduring ones were the Mongoose and the Mandrill. Before she married, Virginia’s nickname in the Stephen household was ‘the Goat’.

They went to Berlin to visit Harold Nicholson, it was a long draining visit with many late nights, and on her return she had a relapse and was in bed for three weeks. Glendinning quotes her as saying she really wanted ‘the maternal protection which… is what I have always wished from everyone’. Suddenly, reading that, I saw how Woolf was a child, endlessly seeking reassurance. And it made me see her novels as essentially childlike, a sexless, jobless, workless, child’s-eye view of life.

Orlando: A Biography was published on 11 October 1928 and sold well, securing their finances. A year later, in October 1929, A Room of One’s Own was also successful.

Richard Kennedy, 24, was the latest young graduate taken on to help out at the Hogarth Press. He describes how Leonard was:

the magician who keeps us all going by his strength of will… and Mrs W is a beautiful, magical doll, very precious but sometimes rather uncontrollable.’

He describes how, when she was lifting off into one of her manic spells, Leonard would gently tap her on the shoulder and she would stop talking, and quietly follow him, go to her bedroom where he talked quietly, read to her and calmed her down. Leonard had to warn new people what they could not say to Virginia to avoid a problem/getting her over-excited. I hadn’t realised she was this on the edge, all the time.

Ethel Smyth During 1930 Virginia gets to know the deaf, feminist composer Ethel Smyth and they become regular, and sometimes bawdy, correspondents. Smyth was 72, Virginia 48. Here’s Smyth’s most famous work, The March of The Women. Very worthy, but heavily Victorian and boring.

New Fabian research Bureau Leonard is appointed to its executive committee in 1931.

Kingsley Martin, an earnest young nonconformist, is appointed editor of the New Statesman which he would remain for 30 years. Leonard became joint editor of the Political Quarterly which he remained for the next 27 years.

The Hogarth Press published 31 books or pamphlets in 1930, 34 in 1931.

John Lehmann just down from Trinity Cambridge, was hired to work on the Press. He lasted two years. While here he published New Signatures, the selection which introduced the poets of the Auden generation. He introduced the Woolfs to Christopher Isherwood. They published Laurens van der Post’s first book. The more I read about the Hogarth press, the more impressive it becomes.

Glendinning cites eye witness accounts from Lehmann, Barbara Bagenal and Harold Nicholson of how Virginia needed Leonard to calm her when she got over-excited or had a fugue, a loss of awareness of where she was or what she was doing (p.294).

There are plenty of eye witnesses testifying to how happy Leonard and Virginia were at Monks House, how relaxed with each other and a civilised routine. Visitors heard Virginia endlessly talking to herself, in the bath, as she pottered round the big garden, and along country lanes, so that the locals came to think of her as bonkers. The servant Louie Everest came to recognise when Virginia was having one of her bad headaches because she pottered round the garden, bumping into trees.

1932

21 January: Lytton Strachey died of cancer. Leonard wrote a sensitive obituary. He had been Leonard’s best friend in their youth. His death confirmed Leonard was middle aged.

11 March, Lytton’s partner, the painter Dora Carrington, shot herself.

Mains water is brought to Monks House and they get a telephone, Lewes 832. Virginia buys new beds from Heals.

1 October Oswald Mosley founded the British Union of Fascists. Marches, rallies and violence in the East End. The Woolfs were connected to all this because up till this point Virginia’s lover, Vita Sackville West’s husband, Harold Nicholson, had been secretary to Mosley. Now he quit.

Conversely, T.S. Eliot‘s mentally unstable wife, Vivian, joined the Fascists. Eliot separated from her and never saw her but she stalked him and made public scenes. Virginia sympathised and ‘Tom’ became a good friend and regular visitor to their London or Sussex house.

1933

1933: Victor Gollancz asked Leonard to edit An Intelligent Man’s Way to Prevent War. This is the same subject as prompted Virginia’s great book, Three Guineas. In April Mosley held a rally for 10,000 followers at the Albert Hall. Leonard and the Fabians thought he might be in power in five years’ time.

1934

July: they visited the fabulously wealthy Victor Rothschild and promised to look after his pet marmoset while he went abroad. It was called Mitzy and became so attached to Leonard’s kindness that she never went back. She perched on Leonard’s shoulder or head and the back of his jacked was routinely strewn with her poo.

5 to 10 September: Leonard listens to the Nazi Nurenberg rally, relayed on the radio. He was inspired to write his satire on the totalitarian regimes, Quack Quack!

9 September: art critic and populariser of the French post-impressionist painters, Roger Fry, died. Vanessa had had a fiercely sexual affair with him (13 years older than her) and was inconsolable. Slowly the idea crystallised that Virginia should write his biography. This was to turn into a chore and produce a not very good book.

1935

May: Driving to Italy Leonard decided to take a detour through Nazi Germany. Glendinning points out that in his autobiographies he doesn’t mention the antisemitism of the 1930s, doesn’t mention Mosley or the British Union of fascists. She thinks this is because he didn’t want to put down in black and white even the possibility of his country’s rejection of himself, as a Jew. The British Foreign Office advised Jews not to visit Hitler’s Germany. Brief description of their journey through Nazi Germany, soldiers everywhere, public notices against Jews, mobs of children giving the Nazi salute. They had taken Mitzy the marmoset with them who made people laugh and defused tensions.

June: published his attack on the Fascist governments, Quack Quack!

September: Nazi Nuremberg Race Laws Jews legally different from their non-Jewish neighbours introducing all kinds of legal discrimination.

September: Leonard and Virginia attended the Labour Party Conference where Ernest Bevin argued that Britain had to rearm to face the Fascist powers, annihilating pacifist speaker in the process.

2 October: Mussolini invaded Abyssinia. Sanctions were useless as didn’t include Germany or the USA. Leonard wrote bleakly about the failure of the League of Nations. He had spent 20 years arguing that the only way to keep peace was international co-operation. Now he was forced to abandon that position and agree with Bevin that Britain needed to re-arm and make itself strong.

1 November: UK General Election in which Labour were thrashed and the new coalition government of Conservatives along with small breakaway factions of the Labour and Liberal parties, was headed by Conservative Stanley Baldwin.

Tom Eliot brought Emily Hale, a former love and confidante, to meet Leonard and Virginia, who left a record of their tea, finding Leonard more sympathetic, warm and tired.

1936

20 January: King George V died, succeeded by his son, Edward VIII.

6 March: Hitler’s troops reoccupied the Rhineland in breach of the Versailles Treaty. The atmosphere of growing antisemitism in Britain. British Union of Fascists symbols drawn on the walls.

Trying to finalise The Years and separate out the polemical book which was to become Three Guineas brought Virginia closer to breakdown than she’d been since 1913. She lost half a stone and for over three months was unable to work, an unusual hiatus. Only in the last 3 months of the year could she resume work on what was to be her longest novel.

July: Spanish Civil War broke out with the army’s coup against the republican, anti-clerical socialist government. Leonard concluded the international system had collapsed and a European war was inevitable.

Sunday 4 October: the Battle of Cable Street as anti-fascists attacked a march by the British Union of Fascists through the East End.

5 to 31 October: the Jarrow march.

19 December: after a prolonged constitutional crisis, Edward VIII abdicates because of the Establishment’s refusal to let him marry the American divorcee, Wallis Simpson.

1937

Leonard was ill for an extended period of time. Glendinning thinks it expressed his anguish about the international situation and dread for the plight of the Jews. He tried various consultants who thought it was diabetes or prostate trouble i.e. didn’t have a clue.

April: the bombing of Guernica.

24 June: Leonard and Virginia were among many artists and performers onstage at the Albert Hall for a concert to raise money for Basque orphans.

20 July: the terrible news that Virginia’s nephew (Vanessa’s son) Julian Bell had been killed after volunteering to drive an ambulance in Spain.

Leonard was diagnosed with numerous ailments and prescribed loads of medicines none of which worked. He even went to see the inventor of the Alexander technique, Frederick Alexander, but gave it up as too arduous. His ongoing illness prompted love and support from Virginia. Glendinning quotes Virginia’s diary describing them walking round Tavistock Square like a lovestruck couple:

‘love-making – after 25 years can’t bear to be separate…you see it is enormous pleasure being wanted: a wife. And our marriage so complete.’ (Virginia’s diary 22 October 1937)

21 October: after a long gestation, Virginia’s final and longest novel, The Years was published. It received good reviews and was her most commercially successful novel although Leonard thought it was her worst.

In late 1937 John Lehmann became a partner in the Hogarth press, buying out Virginia’s share for £3,000.

1938

March: Lehmann started full time as co-director of the Hogarth Press. Endless bickering with Leonard. But it was making more money than ever, £6,000 in this tax year.

March: Leonard installs a wireless in 52 Tavistock Square. He himself makes regular radio broadcasts.

12 March: the Anschluss, Nazi Germany marches into Austria and takes it over. At the Labour Party Executive Leonard argues for a coalition with the Conservatives and the introduction of conscription.

April: Lady Ottoline Morrell, hostess of the literary salon at Garsington Manor, died.

June: Three Guineas published. Leonard thought it typified Virginia’s impeccable feminism but their friends didn’t like it. Forster thought it cantankerous, Keynes thought it silly, Vita thought it unpatriotic. I think its structure (like a lot of Woolf’s writing) is eccentrically oblique and sometimes confusing, but the picture she builds up, especially through the extended notes, of the patriarchy which held back British women, is magnificent, radiating scorn and quiet rage.

August: Tom Eliot’s wife Vivian was certified insane and sent to a lunatic asylum where she spent the last 9 years of her life. Eliot never visited her.

September: the Munich Crisis, Neville Chamberlain flies to Munich and along with the French Prime Minister allows Hitler to annex the Sudetenland, part of Czechoslovakia with a large German population. Leonard predicted war. Virginia is still very much in love with him. She bakes a loaf of bread and calls out to the garden, where he’s up a ladder ‘where he looked so beautiful my heart stood still with pride that he had ever married me’ (letter to Vanessa Bell, October 1938).

9 November: Kristallnacht when the Nazis unleashed stormtroopers on Jewish homes, business and synagogues across Germany. Hundreds of synagogues throughout Germany, Austria and the Sudetenland were damaged, over 7,000 Jewish businesses were damaged or destroyed, and 30,000 Jewish men were arrested and incarcerated in concentration camps. Leonard has a recurrence of the painful rash which covers his back and other parts. He sees doctors but Glendinning thinks it was psychosomatic, stress, and to do with the persecution of the Jews.

December: Leonard finished the first volume of After the Deluge, an analysis of Enlightenment thought into the early nineteenth century. His aim was to show the psychological and sociological process which bring about wars, and so avoid them. Fat chance. When it was published in September 1939 it sold pitifully.

1939

January: Leonard and Virginia go to tea with Sigmund Freud, recently escaped from Nazi Vienna. The Hogarth press had been publishing his works for 15 years. Leonard was struck by Freud’s aura of greatness. Freud died a few weeks into the war, on 23 September 1939.

15 March: German army annexes the rest of Czechoslovakia and claims the country has ceased to exist. France and Britain bring forward their rearmament programmes. Leonard’s psychosomatic rash returns with a vengeance.

23 June: their friend the artist Mark Gertler gassed himself. He was suffering from financial difficulties, his wife had recently left him, his most recent exhibition had been slammed, he was still depressed by the death of his mother and the suicide of Dora Carrington with whom he’d been madly in love, and was fearful of the imminent world war.

Victor Gollancz commissioned Leonard to write a book in defence of civilisation and tolerance for the Left Book Club for £500. But the final manuscript of Barbarians at the Gate contained criticisms of the Soviet Union which were unacceptable to the communists at the club, leading to a prolonged exchange of angry letters.

2 July: Leonard’s mother died. He was unsentimental.

The Woolfs moved to 37 Mecklenburg Square, taking their thousands of books and the Hogarth printing press.

23 August: Germany and Russia signed their non-aggression pact. 1 September Germany invaded Poland. 3 September Britain was at war with Germany.

November: The Barbarians at the Gate was published and slated by left-wing fellow travellers.

1940

The War for Peace published in which Leonard defended what critics called his utopianism in international relations.

June: France collapsed. Hitler enters Paris. Dunkirk. Leonard was shaken.

September: the Blitz began and was to last until May 1941. The blackout is enforced in Rodmell (the village where they had their country home). Virginia spoke to the local Women’s Institute then became its secretary. Like many others they equipped themselves with means of committing suicide should the Germans invade (p.353).

Correspondents: Virginia was still writing letters about her everyday life to Ethel Smyth who didn’t die until May 1944. Leonard still wrote letters to Margaret Llewelyn Davies of the Women’s Co-operative Guild.

They drove to London but couldn’t get as far as Mecklenburgh Square because of the bombing. A pill box was built in the field beyond their garden. German planes flew overhead every day. The flat in Mecklenburgh had its windows blown out by bombs, but their old place at 52 Tavistock Square was reduced to rubble. The Hogarth press machinery was evacuated to Letchworth. The books from Mecklenburgh were shipped down to Monks House where they packed the corridors.

23 November: Virginia finishes first draft of Between the Acts. She slowly fell into a depression, Her hand started to shake.

1941

25 January: Virginia turned 59 and Leonard began to be worried about her persistent depression. She was revising Between the Acts, always a dangerous time. They socialise, Virginia telling people her new novel is no good, though Leonard praised it.

March: she went for a walk in the fields and fell into the river whose banks had broken and flooded some of their land. Leonard returned from giving a talk to find her staggering back towards the house, wet and upset. Vanessa visits and tries to cheer her up.

Monday 24 1941: he realised she was becoming suicidal. The situation was as bad as her collapse in 1913. He consults a friend, Octavia Wilberforce, about whether to his nurses and force 24 hour supervision on Virginia against her will. But this is what had triggered furious psychotic breakdowns in the past so they decided to try and gentler approach, of Leonard calmly supporting and encouraging her.

Next day was a series of humdrum chores, recorded by Leonard and the house servant, and Virginia said she was going for a walk before lunch. An hour or so later Leonard went up to his sitting room and found two letters there, one for Vanessa one for himself, suicide notes. The letter to him is so full of love it made me cry. She thanked him and said she had had a wonderful life but she could feel her madness coming on, she was hearing voices, she couldn’t read, he would be better off without her.

Obviously he came running downstairs, hailed all the servants, sent one to get the police and help and spent the day till sunset searching the flooded river Ouse. He found Virginia’s walking stick lying on the bank. In subsequent days the river was dragged for the body. Eventually the authorities gave up the search for her body.

Three weeks later he body was discovered floating in the river by some teenagers having a picnic. They called the police. Leonard had to identify it. Coroner’s report etc. Leonard drove on his own to the cremation.

All his friends tried to console him, saying she was better off dead than really mad, but Leonard swore she would have recovered from this attack as from previous ones. He buried her ashes under two elm trees in the garden at Monks House which they had jocularly named after themselves.

Joyce and death Born February 2, 1882, Joyce was precisely eight days younger than Virginia. Two days after his death on January 13, 1941, she noted in her diary that he was ‘about a fortnight younger’ (D 5: 352-53). She outlived him by just a little over ten weeks.

Virginia asked Leonard to destroy all her papers

He disobeyed and in the years to come Virginia Woolf’s diaries and letters, autobiographical writings and unpublished works, were to be published and pored over in ever greater detail. The shape of her legacy, and the broader picture of the Bloomsbury Group, would have been very different if he’d obeyed her wishes.

Was he right to ignore her explicit, direct request, as Max Brod disobeyed Kafka’s request to burn his papers?

The shocked response of friends and family, other writers, journalists, and the wider world, are described and done with by about page 380 of this 500-page book. Leonard Woolf still had 28 years to live (died 14 August 1969). A man who was born the year Gladstone replaced Disraeli as Prime Minister (1880) lived to see men land on the moon. The twentieth century, century of marvels but also cataclysmic disasters.

After Virginia

What’s interesting is the power of the biography completely evaporates with Virginia’s death. I hadn’t realised how much Leonard’s story had come to be entwined with hers, and his existence justified by his support of her as she wrote her masterpieces. When it’s back to just him it remains sort of interesting in a journalistic gossipy way but the pressure drops right down.

Twenty-eight more years of living, writing, politicking, editing, publishing and loving – one year less than his marriage to Virginia (1912 to 1941). According to Glendinning ‘Few people are so fortunate in their later life as Leonard Woolf’ and he had many happy years. But for this reader, at any rate, all the life went out of the book when Virginia died.

Trekkie

In the next few years he fell in love with a woman called Trekkie (real name Margaret Tulip) Parsons, a keen but nondescript painter, married to Ian Parsons, an editor at Chatto and Windus, a handsome charming man. Ian sort of permitted a menage a trois to develop though it’s doubtful that Leonard and Trekkie ever had sex, and I hate myself for reading about other people’s sex lives, though this is an unavoidable aspect of modern biography. Ian meanwhile was having an affair with his editorial assistant Norah Smallwood so… so people will be people.

Superficial though it sounds, the relationship with Trekkie lasted for the rest of their lives.

The growth of Bloomsbury

The other theme which emerges is the slow steady growth of the Bloomsbury industry. Post-war interest in Virginia and other figures just kept on growing. The surviving members of the network –published books every year and fed the market throughout the 1950s (p.433). The advent of the swinging 60s, sexual liberation, the decriminalisation of homosexuality in 1967, a greater openness about sex, made the Bloomsburies, with their fluid sexuality and open relationships, seem forebears and founders.

The members wrote autobiographies and memoirs, and a steadily growing tribe of academics wrote books about them. Glendinning describes some of the early Virginia scholars who began to approach Leonard asking for help, advice, an interview, and whatever papers he could spare.

Glendinning records Leonard’s growing involvement with not just American scholars but professional buyers of manuscripts such as Hamill and Barker, to whom he sold off packets and parcels of letters, manuscripts and diaries, through the 1950s and ’60s, for lucrative sums (pages 427, 450).

The schism between academics and public intellectuals

This move to biography was encouraged by the growing schism between general, freelance public intellectuals such as Leonard, and the growing number of professional academics housed in the growing number of postwar universities. When Virginia and Leonard started writing all intellectuals were on about the same level, with some being experts at universities, but many freelance writers knowing quite as much across a broad range of subjects. The tone of discourse across public writers and academics was comparable. In the new era of academic specialisation, academics developed technical terms and jargon, assumed specialist knowledge, which increasingly cut them off from generalists let alone the man in the street.

Leonard fell victim to this specialisation with his book on international politics, After the Deluge, published in 1955. He intended it to form the third part of a trilogy (the previous books published in 1931 and 1939) which he allowed himself to be persuaded to give the grandiose title Principia Politica. This begged comparisons with the masterworks of Newton (Philosophiæ Naturalis Principia Mathematica), Whitehead and Russell’s Principia Mathematica or GE Moore’s Principia Ethica, but it was nothing of the kind, as reviewers were quick to point out. Compared to the new ranks of professional academics, Leonard appeared discursive, repetitive, anecdotal and amateurish (p.444).

The spread of universities and growth of a class of specialist academics was epitomised by the opening, in 1961, of the University of Sussex, just outside Brighton and only 5 miles from Leonard’s rural retreat in the village of Rodmer (p.465).

For the public intellectual locked out of the growing ivory tower of academia, there remained publishing (he continued to be a director of the Hogarth Press), ‘the higher journalism’ (he continued to edit the Political Quarterly, and biography and memoirs. So this feeds back into the growth of Bloomsbury books – none of the survivors (Vanessa, Duncan, Quentin and so on) were really expert, scholarly expert-level on anything except… themselves.

Leonard himself epitomised the trend. Having had his masterwork of political commentary rubbished he retreated to the safer territory of his own life, and commenced his own autobiography which ended up taking no fewer than six volumes:

  • Sowing: An Autobiography of the Years 1880 to 1904 (1960)
  • Growing: An Autobiography of the Years 1904 to 1911 (1961)
  • Diaries in Ceylon 1908 to 1911, and Stories from the East: Records of a Colonial Administrator (1963)
  • Beginning Again: An Autobiography of the Years 1911 to 1918 (1964)
  • Downhill All the Way: An Autobiography of the Years 1919 to 1939 (1967)
  • The Journey Not the Arrival Matters: An Autobiography of the Years 1939 to 1969 (1969)

I’d never heard of these but they won him prizes. Beginning Again won the W.H. Smith book prize and the handy sum of £1,000.

Michael Holroyd’s two-volume biography of Lytton Strachey published in 1967-8 proved to be a turning point. Its openness about Strachey’s homosexuality, his numerous affairs, his thousands of camp letters, shed a completely new light on the Bloomsburies, rendering much that had been written up to that point obsolete, but confirming their reputation as sexual pioneeers (p.475).

Pointless

In the last volume of his autobiography Leonard candidly, devastatingly, adjudged that a lifetime of political activism, sitting on innumerable committees, spending years researching and writing position papers and polemical books (calling for international co-operation for peace) achieved more or less nothing.

‘I see clearly that I achieved practically nothing.’ (quoted p.484)

Thoughts

Authoritative, thorough, empathetic, insightful, fascinating and often very funny, nonetheless Glendinning’s definitive biography becomes increasingly focused on the mental illness of poor Virginia, relentlessly building up to Virginia’s suicide which is so terrible, so upsetting, so devastating, that I could barely read on and stopped trying to review it after that point.


Credit

‘Leonard Woolf: A Life’ by Victoria Glendinning was first published by Simon and Schuster in 2006. Page references are to the 2007 Pocket Books paperback edition.

Related links

Virginia explaining and justifying her technique in ‘Modern Novels’ (TLS 10 April 1919):

The mind, exposed to the ordinary course of life, receives upon its surface a myriad impressions–trivial, fantastic, evanescent, or engraved with the sharpness of steel. From all sides they come, an incessant shower of innumerable atoms, composing in their sum what we might venture to call life itself; and to figure further as the semi-transparent envelope, or luminous halo, surrounding us from the beginning of consciousness to the end. Is it not perhaps the chief task of the novelist to convey this incessantly varying spirit with whatever stress or sudden deviation it may display, and as little admixture of the alien and external as possible.

Let us record the atoms as they fall upon the mind in the order in which they fall, let us trace the pattern, however disconnected and incoherent in appearance, which each sight or incident scores upon the consciousness. Let us not take it for granted that life exists more in what is commonly thought big than in what is commonly thought small.

Revised as ‘Modern Fiction’ in The Common Reader (1925).

Selected Essays by Virginia Woolf – 2. Life-Writing

The Oxford World Classic edition of ‘Selected Essays by Virginia Woolf’, edited by David Bradshaw, brings together 30 of Woolf’s essays, reviews and miscellaneous prose pieces, and groups them under four headings:

  1. Reading and Writing
  2. Life-Writing
  3. Women and Fiction
  4. Looking On

Summarising each of the essays was taking so long that I broke my review up into parts, one for each section. This one addresses the four essays in the ‘Life-Writing’ i.e. biography section, being:

  1. The New Biography (1927) [review of Some People by Harold Nicholson]
  2. On Being Ill (1930) [fantasia]
  3. Leslie Stephen: The Philosopher at Home: A Daughter’s Memories (1932) [memoir of her father]
  4. The Art of Biography (1939) [specifically Lytton Strachey]

Woolf, her father and biography

Virginia’s father, Sir Leslie Stephen (1832 to 1904) was an English author, critic, historian and biographer. He was editor of the influential Cornhill Magazine. Virginia grew up in a house filled with books, and was given free rein to its large library with, crucially, the support and guidance of an extremely bookish parent. She grew up to believe and promote in all her essays the dazzlingly unoriginal idea that writing, literature and poetry, were the highest art and encapsulated indelible human truths. I wonder if anyone believes such a narrow simple-minded idea in our times. Literature quite obviously doesn’t represent any kind of truth. The case against it is similar to one of the arguments against the Bible being the word of God, simply that it expresses, with profound conviction, a vast array of completely contradictory and chaotic beliefs. In fact literature’s virtue is its lack of any one Great Truth, the whole point is its mad diversity and plurality.

The point is that young Virginia grew up in a hyper-bookish household, dominated by a hyper-bookish father, and went on to spend a career telling everyone that the most important thing in the world was books and writing, as the essays in the first two sections of this book demonstrate. The apple doesn’t fall far from the tree.

Anyway, in the early 1880s, the owner of the Cornhill magazine, the publisher George Smith, approached its editor, Stephen, to sound him out about creating an encyclopedia of notable people. This led to the creation of the Dictionary of National Biography or DNB, still with us 140 years later. Stephen was the dictionary’s founding editor, working on it from 1885 to 1891. His daughter, Virginia, was to give a special place to biography in the genres of writing. Her novel Orlando is a tribute to and critique of traditional biography. I was struck by how her powerful feminist polemic, Three Guineas, relies not on data, sociology or economics, but leans very heavy on the evidence of the innumerable literary biographies she’s read. Biography was very important to this daughter of the man who founded the country’s definitive encyclopedia of biography. The apple doesn’t fall far from the tree.

When her father resigned as editor, he was replaced by Sidney Lee, Stephen’s assistant editor from the beginning of the project. Lee served until the first edition was completed in 1900, then returned to edit the first supplement which was published in 1912.

1. The New Biography (1927: 6 pages)

This is a book review of Some People by Harold Nicholson. It starts with a quote from Sidney Lee’s 1911 book, Principles of Biography, where he writes that:

The aim of biography is the truthful transmission of personality.

Almost any educated person could spot the flaws in this statement, starting with the idea that you can ever have a truthful transmission of anything, and going on to wonder whether the point of a biography is solely to convey personality. That’s a nice outcome but surely there are a lot of other aims as well, not least getting the facts right and setting the record straight about someone’s life.

Anyway, this quote allows Woolf to set up a dichotomy between truth and personality. On the first page she astonishes with an unironic and naive praise of The Truth, believing that such a thing exists.

There is a virtue in truth; it has an almost mystic power.

Here as in so many other places, Woolf shows herself a child of the deep Victorian era, whose intellectual traces lingered for a long time in the Stephen household, her attachment to Truth and Beauty deriving from Keats, Shelley, Coleridge and so on, nothing from the thinkers, writers and artists of her own time.

But partly it’s just a rhetorical device. She builds up Truth as a big concept so she can oppose it with Personality. According to her this emerged into the genre of biography with Boswell’s ‘Life of Johnson’. We hear and see Dr Johnson as no other figure before him. We hear him, we can argue with him.

Victorian biography contained more psychology, more delving into personality than its predecessors, but was constrained by the Victorian need to dwell on virtue and goodness. The result was huge biographies which resembled the Victorian tombs of Great Men lacking all sense of life and spontaneity.

But now, she claims, twentieth century biography represents a sea change, in two main ways. Modern biographies are no longer the ten volume tombstones of the Victorian era, but are short and swift. Alongside this, the biographer no longer considers themselves a lowly drudge beavering away in the footsteps of their giant subjects; the modern biographer considers themselves the equal of their subjects, and freely able to pass judgement on them.

And now, after this thoughtful if wrong-headed introduction, we come to the book under review, Some People by Harold Nicholson. Now Nicholson was a ridiculously over-talented posh man. He was a diplomat, politician, journalist, broadcaster, historian, biographer, diarist, novelist, lecturer, literary critic, essayist and gardener nowadays maybe mostly remembered for his candid, scandalous Diaries.

He had already written fairly conventional biographies of Byron and Tennyson when he produced Some People. It consists of nine chapters, each the biography of a different person but here’s the thing – all nine are imaginary. They are: being a sort of character sketch: Miss Plimsoll; J. D. Marstock; Lambert Orme; The Marquis de Chaumont; Jeanne de Henaut; Titty; Professor Malone; Arketall; Miriam Codd.

Nicholson joked that they were all entirely imaginary, abstract character sketches. But those in the know recognised some of them as combining traits from real living people, and a couple of them are straight portraits of real people just given fictional names.

As such it is a hybrid book, biographies, but of non-existent people, except they are real people, except they are treated as fictions.

It may be worth pointing out that Nicholson was married to the posh aristocrat Vita Sackville-West, with whom Woolf was having a lesbian affair. Woolf was especially interested in biography at this time because she was quickly writing her own fictional biography, Orlando, which was in the same ballpark as Some People and which is dedicated to Sackville-West. Orlando is in fact in many respects based on Vita, even including photos of her in the text and captioning them as portraits of Orlando.

Back to Nicholson, Woolf says his chief quality is his sense of humour. He laughs at his subjects and he laughs at himself. She makes the rather obvious point that the tenth subject who emerges from this sequence of nine portraits is the author himself, mentioned self-mockingly at various moments, and whose own life and opinions emerge from references scattered throughout the other sketches.

What makes all this new is ‘the lack of pose, humbug, solemnity’, ‘freedom from pose, from sentimentality, from illusion’. He has opened new ground by deploying the techniques of fiction to biography.

At the same time she points out its limitations, which that all the characters, deliciously mocked though they are, are small. They lack real depth or complexity and they can’t be allowed it or the delicate balancing act will be spoiled.

Caveat

As I wrote this out I thought, Hang on: surely a vast number of novels have been biographies of fictional people, starting with books like Moll Flanders or Tom Jones. When she says that Nicholson writes with delightful humour well, er, Henry Fielding, let alone Dickens, most of whose early novels purport to be biographies of named people (Oliver Twist, Nicholas Nickleby). Fiction and biography have always been closely aligned, haven’t they? Maybe Nicholson just seemed so new by contrast with the long dark shadows of the vast and pious Victorian biographer? Or maybe what was novel in his work was the pretence that his people were real? To us nowadays what Woolf finds so exciting in this book sounds to us pretty commonplace.

Or maybe what excited her was that she, also, at this very time, was writing a fantasy biography, an experimental biography, an experiment mixing fact and fiction, so it chimed with her own intense interest in this zone. As in her important essays about fiction, she is working through her own ideas in public?

Or that she was having an affair with the author’s wife. The literary world, eh?

2. On Being Ill (1930: 10 pages)

Wikipedia says:

‘On Being Ill’ is an essay by Virginia Woolf, which seeks to establish illness as a serious subject of literature along the lines of love, jealousy and battle. Woolf writes about the isolation, loneliness, and vulnerability that disease may bring and how it can make even the maturest of adults feel like children again. The essay was written in 1925, when she was 42 years old, while she was in bed shortly after experiencing a nervous breakdown.

Like most of Woolf’s essays, its premise, discussion and conclusions feel highly questionable. Take for a start her claim that that no serious writer had previously written about illness. Wikipedia points out that even when she was writing (1930), she had Proust’s extensive descriptions of illness in In Search of Lost Time (1913 to 1927) not to mention Thomas Mann’s The Magic Mountain (1924) set in an Alpine sanatorium, to refer to.

But facts aren’t what Woolf is about, here as in most of her essays. She mainly wants to get on and write, in a heightened poetic style, about the basic conflict between the mind and the body. And so she claims that most literature is about the mind and little attention is given to the demands, especially when ill, of the body. Partly this is due to the poverty of the vocabulary surrounding illness:

The merest schoolgirl, when she falls in love, has Shakespeare or Keats to speak her mind for her; but let a sufferer try to describe a pain in his head to a doctor and language at once runs dry. There is nothing ready made for him.

(Here, as everywhere, see how her mind, when considering almost any aspect of writing, immediately turns to Shakespeare as a reference point, something she does in virtually everything she wrote.)

Also, there’s the slight problem that her description of being ill bears no resemblance to actually being ill. I had flu for a week recently and Woolf’s extended and highly poetic fantasias about illness, fanciful and poetic though they are, bear no relation to the sense of exhaustion and lack of interest in anything at all which I experienced. Hers is a kind of over-literary person’s fantasy of what illness ought to be like.

In fact the whole text is really a fantasia, an imaginative extravaganza, often with no connection to the nominal subject. She describes how lying on a sick bed makes you look up into the sky and describes her impression of watching it for hours (the sky), how it continually changes like a vast open-air cinema. When I was lying sick in bed and looked up, I saw the ceiling.

Overwhelmed, as so often, by the intensity of her own sense impressions, Woolf shifts her attention to something smaller and closer to hand, roses in vases in her room. For some reason, this morphs into a fantasy about the heat death of the solar system, the sun going out and the earth being covered in ice. free-associating, she wonders whether there will be a heaven and immortality, and goes rambling on:

Surely, since men have been wishing all these ages, they will have wished something into existence; there will be some green isle for the mind to rest on even if the foot cannot plant itself there. The co-operative imagination of mankind must have drawn some firm outline.

But no. One opens the Morning Post and reads the Bishop of Lichfield on Heaven. One watches the church-goers file into those gallant temples where, on the bleakest day, in the wettest fields, lamps will be burning, bells will be ringing, and however the autumn leaves may shuffle and the winds sigh outside, hopes and desires will be changed to beliefs and certainties within.

Do they look serene? Are their eyes filled with the light of their supreme conviction? Would one of them dare leap straight into Heaven off Beachy Head? None but a simpleton would ask such questions; the little company of believers lags and drags and strays. The mother is worn; the father tired. As for imagining Heaven, they have no time.

Heaven-making must be left to the imagination of the poets. Without their help we can but trifle—imagine Pepys in Heaven, adumbrate little interviews with celebrated people on tufts of thyme, soon fall into gossip about such of our friends as have stayed in Hell, or, worse still, revert again to earth and choose, since there is no harm in choosing, to live over and over, now as man, now as woman, as sea-captain, or court lady, as Emperor or farmer’s wife, in splendid cities and on remote moors, at the time of Pericles or Arthur, Charlemagne or George the Fourth…

See what I mean by fantasia? There’s no point trying to process or assess this rationally: all you can do is relax and go with the flow of her rather delirious mind…

She eventually veers back into the world of sense when she makes the point that when we’re ill, the rational controlling mind is weakened and so, with your defences turned down, you respond more directly to sense impressions.

In illness words seem to possess a mystic quality. We grasp what is beyond their surface meaning, gather instinctively this that, and the other—a sound, a colour, here a stress, there a pause—which the poet, knowing words to be meagre in comparison with ideas, has strewn about his page to evoke…

Incomprehensibility has an enormous power over us in illness… In health, meaning has encroached upon sound. Our intelligence domineers over our senses. But in illness, with the police off duty, we creep beneath some obscure poem by Mallarmé or Donne…

This may or may not be true. When I had flu I was too ill to read anything, to do anything, to care about anything at all, even eating. So this seems to me yet another of her poetic fantasies, it is a bookish account of what being ill ought to be like. And how characteristic that her first example of the conscious mind lowering its guard and being more susceptible, is that it be more susceptible to poetry and the Great Classics of Poetry in particular.

This dogged return of so many essays to her obsession with Poetry made me reflect that, although Woolf’s best novels are really great, in all other respects her imagination was horribly constricted. Essay after essay after essay praises the same handful of Great English Poets and, above all, Shakespeare, again and again and again. It’s like listening to a tame parrot repeat its half dozen catchphrases all day long. And lo and behold, in the very next paragraph, here is the Bard of Avon, yet again.

Rashness is one of the properties of illness—outlaws that we are—and it is rashness that we need in reading Shakespeare. It is not that we should doze in reading him, but that, fully conscious and aware, his fame intimidates and bores, and all the views of all the critics dull in us that thunder-clap of conviction which, if an illusion, is still so helpful an illusion, so prodigious a pleasure, so keen a stimulus in reading the great. Shakespeare is getting flyblown; a paternal government might well forbid writing about him, as they put his monument at Stratford beyond the reach of scribbling fingers. With all this buzz of criticism about, one may hazard one’s conjectures privately, make one’s notes in the margin; but, knowing that someone has said it before, or said it better, the zest is gone. Illness, in its kingly sublimity, sweeps all that aside and leaves nothing but Shakespeare and oneself. What with his overweening power and our overweening arrogance, the barriers go down, the knots run smooth, the brain rings and resounds with Lear or Macbeth…

Is she seriously claiming that being ill helps you read Shakespeare better? This is not a sensible remark because it’s quite the opposite. You need your wits about you when reading such wonderfully complex, multi-levelled works – the multi-levelled complexity of plot, character, psychology and diction are key to the deep sensual but intellectual pleasure Shakespeare gives.

The last few pages of the essay follow through on Woolf’s idea that when you’re ill you’re not up to reading the Great Works of Literature and fancy something lighter. In Woolf’s case this is biography, which she goes out of her way, in essay after essay, to emphasise is not an art on the same level as writing a novel (see ‘The Art of Biography’, below).

At which point the essay takes an unexpected turn to look at a very specific author. The last couple of pages of this little essay stop being about illness at all and turn into praise for the Victorian writer, painter and raconteur, Augustus Hare (1834 to 1903). Specifically, it turns out Woolf is a big fan of Story of Two Noble Lives, Hare’s big biography of two sisters and artists, Countess Canning and the Marchioness of Waterford. Woolf gives us an extended summary of these ladies’ lives, of the extended Victorian families they lived in, of their marriages, children, careers and whatnot and then, after this brisk impressionistic summary of this now-obscure work, her favourite sick-time reading, the essay simply stops, leaving you puzzled and (pleasurably) disorientated.

Thoughts

1) Being ill is nothing like Woolf describes. This is just a literary fantasia.

2) Her obsession with Great English Literature and, above all, with Shakespeare Shakespeare Shakespeare, is enough to make you scream. English literature is huge and varied and strange but hardly any of this comes over from Woolf who makes everything, all English literature, sound like one thing, like the same, high-minded and lyrical seeking after Poetry.

3) It is symptomatic that she ends not with a novel but a biography. Biographies are easy to read, serious novels often very hard. Hence my mild criticism of the way so much of her powerful polemic Three Guineas was based on biography, anecdote and extensive newspaper cuttings rather than serious research into history or sociology. I knew medics and scientists at university who never read novels but loved a good biography. This is because reading a biography is easy, reading the biography of a writer is a lazy copout: at the risk of sounding schoolmasterish, you should always read the original works – because it’s there that the unexpected, the strange and the marvellous reside, not in biographical summaries, no matter how interesting.

4) Ten thousand critics have labelled Woolf a modernist but, in my opinion, underlying the technique of drifting, free-associating consciousness which she developed for her great novels, there actually lurks an extremely conservative, backwards-looking mentality. ‘Poetry, darling, seeking The Truth of Life. Keats and Shelley. And above all, the Master, Shakespeare!’ My reading of her novels and essays is that Woolf wasn’t the first of the moderns, she was the last of the Victorians who carried a kind of purified, quintessential Victorian aestheticism on into the troubled culture of the post-war era.

3. Leslie Stephen, The Philosopher at Home: A Daughter’s Memories (1932: 5 pages)

Woolf’s father was an eminent biographer, who helped found and develop the definitive encyclopedia of biographies of notable British people. He was also a noted essayist. And so she became… a noted essayist with a lifelong fascination in biography. The apple doesn’t fall far from the tree.

This brief text isn’t anything like a biography or an obituary for her famous father. It’s more a eulogy but of a highly personal and limited nature. Woolf’s stock-in-trade wasn’t so much analysis but ‘memories’. Compare and contrast the way the supposed introduction to the book about the English Women’s Co-operative Guild (see my next blog post) is called ‘Memories of a Working Women’s Guild’, and proceeds not by rational argument, not by logical structure, but through the highly personal medium of her own memories, dwelling on her own responses and feelings.

Back to this essay, it’s a relatively brief collection of memories of her famous father:

  • how Leslie Stephen’s adventurous days – as a rower, mountaineer and even author – were over before his children were old enough to know him
  • he liked to go on huge walks across the Cornish moors, rarely speaking more than a few words to anyone who accompanied him
  • he wrote lying almost horizontally in an old rocking chair, picking up and dropping source books as he needed them, with a thump which could be heard downstairs
  • he unconsciously doodled animals in the margins of his books as he read
  • he had a magical ability to make animal shapes out of sheets of plain paper
  • he didn’t speak much but even his briefest remarks were freighted with meaning
  • he disregarded conventional values, frequently embarrassing the family, such as when he wondered aloud whether people who had dropped in for tea were ever going to leave
  • he loved clear thinking and hated sentimentality
  • he hated wars
  • he was paranoid about running out of money and going bankrupt
  • he liked going for brisk walks from the family home at Hyde Park Gate, up to Kensington Gardens and round the Serpentine to the Marble Arch and back
  • his children regularly heard the story about him and his brother encountering Queen Victoria in the Park and bowing low to which the Queen curtseyed, and as a boy once seeing the great Duke of Wellington
  • he smoked a pipe continually
  • he worse clothes till they became shabby
  • like so many industrious Victorians, he hated idleness
  • he didn’t give his daughters higher education but when Vanessa expressed the wish to become a painter he promised to do everything in his power to help her
  • as for Virginia, he gave her free run of his large library when she was just 15 and taught her to be true to her own opinions, to be honest, never to pretend to admire something she didn’t

At the end is a flurry of tributes to him from the writers of his time. Woolf quotes a few lines by Thomas Hardy about Stephen. She quotes the novelist George Meredith saying her father was the only man worthy of her mother (who Meredith knew and admired).

You’ve heard of Simone de Beauvoir’s autobiography, Memoirs of a Dutiful Daughter? Well, this little sliver feels like Woolf’s Memories of a Dutiful Daughter. You’d never know from this pious recital, that she based the character of the occasionally malicious and hurtful Mr Ramsay in To The Lighthouse on her father. Scholars claim that Mr Ramsay is a much more subtle and nuanced depiction of some of her father’s complex and difficult character. By contrast, this reads like the official version.

4. The Art of Biography (1939)

Divided into four sections.

1.

On any given topic Woolf tends to revert to the same handful of ideas. Here she repeats the idea stated in ‘The New Biography’ that it was only in the 18th century that Westerners developed sufficient interest in other people to write really flavoursome biographies, with Boswell’s vast ‘Life of Johnson’ epitomising the new interest, while in the Victorian century biographies grew vast and ponderous and worthy.

Belleletterist writing often proceeds by asking rhetorical questions. Here she asks: Is biography an art? despite being well aware that ‘the question is foolish perhaps.’ In fact it’s such a fatuously pointless question that nobody cares about the answer and Woolf doesn’t answer it.

Instead she moves onto another question: Why do so few biographies endure? Because the novelist is free to write what they want, whereas the biographer is bound by friends and family, by legal restrictions, libel, slander and so on.

The novelist is free; the biographer is tied.

With the result that ‘the art of biography is the most restricted of all the arts.’

2.

She now goes on to discuss the significance of (her friend) Lytton Strachey, author of the volume ‘Eminent Victorians’ (1918), notorious in its day for its warts-and-all portrayal of four Victorian heroes: Cardinal Manning, Florence Nightingale, Thomas Arnold and General Charles Gordon. (Victoria Glendinning’s biography of Leonard Woolf tells me that they weren’t just friends but that the flamboyantly gay Strachey actually proposed to Virginia only to be turned down, a season or so before his Cambridge friend, Leonard Woolf, proposed, and was accepted.)

She knows from personal acquaintance that Strachey wanted to be a writer but lacked the skills required for poetry or plays, whereas in 1918, after the immense disillusionment of the Great War, a new mood was abroad in biography. The plaster saints and stuffed effigies of the Victorian period were ripe for debunking and Strachey found his metier as a debunker and Eminent Victorians was his most famous debunking. That said, the examples Woolf gives of the controversial questions he raised seem ridiculously trivial.

Once more they were the centre of a buzz of discussion. Did Gordon really drink, or was that an invention? Had Florence Nightingale received the Order of Merit in her bedroom or in her sitting room?

Nowadays in our oversexed era, no biography can be published which doesn’t dwell at length on the subject’s sex life, whether they are abused as children or survived all the other horrors life can offer, a melodramatic concern which gave rise a generation ago to the mocking term misery porn. We’ve come a long way from politely wondering if a great military hero might have enjoyed a glass of wine too many.

Anyway, after this early success Strachey went on to write two massive and authoritative biographies of Britain’s queens, Queen Victoria (1921) and Queen Elizabeth I (1928). Woolf has an interesting point to make about these. Basically, the Victoria was a great success (winning prizes) while the Elizabeth was a relative failure. Why? Woolf thinks the answer tells us something about biography ‘as an art’, namely that when he wrote the Victoria he accepted the limitations of biography as a form, its need to stick to verifiable facts, documents, eye witness accounts and so on, and so he worked as a craftsman, assembling his materials. But when he wrote the Elizabeth he got cocky, he tried to make it a work of art, he wanted the book to have more of Woolf’s shibboleth, Poetry, ignored the form’s intrinsic limitations, and failed.

Strachey wanted to invent events and dialogue and motives, specifically in the mysterious relationship between Elizabeth and one of her favourite courtiers, the Earl of Essex. What he found out the hard way is that you can’t add fiction into biography in small doses. To work, fiction must have a free hand to develop character and plot. There was some obscurity in the Elizabeth-Essex relationship but not enough. Just as the fiction was getting going it bumped up against the documents and records we do have which contradicted it, blocked the flow of a narrative. Worse:

By fact in biography we mean facts that can be verified by other people besides the artist. If he invents facts as an artist invents them — facts that no one else can verify — and tries to combine them with facts of the other sort, they destroy each other. (p.120)

(All this prompts the obvious thought that in the 100 years since Strachey’s Elizabeth was published, thousands of writers have managed to write fictional books about historical characters i.e. which blend historical fact with fictional narratives, from Robert Graves to Hilary Mantel, so this last point doesn’t really stand.)

3.

But ‘the facts’ of biography change, they are coloured by changes of opinion by which she means social conventions or beliefs. To demonstrate this she chooses the subject of homosexuality, though she is not allowed to say so.

What was thought a sin is now known, by the light of facts won for us by the psychologists, to be perhaps a misfortune; perhaps a curiosity; perhaps neither one nor the other, but a trifling foible of no great importance one way or the other. The accent on sex has changed within living memory.

Maybe she chooses this particular topic among many other views which shifted with the end of the Victorian era, because Strachey was gay.

Anyway, given these ever-shifting social values, the biographer needs to keep on their toes, alert to the way that so-called biographical ‘facts’ are liable to change completely in a generation. This is why Woolf suggests chucking out the old conventional chapters in a conventional biography and rethinking it as more subtly psychological (like her novels).

Many of the old chapter headings — life at college, marriage, career—are shown to be very arbitrary and artificial distinctions. The real current of the hero’s existence took, very likely, a different course.

4.

Summing up, then, Woolf asserts that it’s exciting times for biographers as biography is poised to take significant new steps forward. But, in line with her obsessive need to rank literary genres, she persists in insisting that biography is an inferior type of writing.

It is a different life from the life of poetry and fiction — a life lived at a lower degree of tension. And for that reason its creations are not destined for the immortality which the artist now and then achieves for his creations. (p.122)

The great characters from fiction last forever. No biographer’s work will last forever. And so she comes round to answering the question she set herself at the start, whether biography is an art. No. No it isn’t.

The artist’s imagination at its most intense fires out what is perishable in fact; he builds with what is durable; but the biographer must accept the perishable, build with it, imbed it in the very fabric of his work. Much will perish; little will live. And thus we come to the conclusion, that he is a craftsman, not an artist; and his work is not a work of art, but something betwixt and between. (p.122)

So Woolf is very tough on biographers, then. According to her they are simply not in the top ranking. Oh well.

But she does throw biographers a consolation prize. This is that the Imagination needs a rest from time to time and biography provides good recreation. Their works make a good playground. A playground where, more importantly, the Creative Writer (the Important Writer, someone like Woolf) may find nuggets of fact, anecdotes or insights:

the creative fact; the fertile fact; the fact that suggests and engenders

which may inspire the superior Creative Writer, which the superior Creative Writer may be able to incorporate into their Work of Art. And so all the biographer’s hard work will have been worthwhile. It would be entertaining to read professional biographer’s responses to this patronising, dismissive point of view.


Credit

‘Selected Essays of Virginia Woolf’ was published by Oxford World Classics in 2008. Most of the essays can be found online. David Bradshaw’s introduction can be read on Amazon.

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