T.s. eliot

A vintage that tastes of Old Possum

Eliot. After 50 years trying to make sense of his verse, and at the risk of admitting to rampant philistinism, I propose three conclusions. At his best, he is one of the finest poets in the language. Partly because he is straining language and thought to the uttermost — an analogy with the final Beethoven piano sonatas — he is sometimes incomprehensible: sometimes, indeed, falls into arrant pseudery. Finally, his anti–Semitism before the war, his rejection of Animal Farm after it: this great man and devout Christian was not exempt from original sin. Gerontion. ‘The Jew squats on the window sill, spawned in some estaminet of Antwerp.’ We turn our

An infinite spirit

Can American publishers be dissuaded from foisting absurd, bombastic subtitles on their books as if readers are all Trumpers avid for tawdry, over-simplified stunts? Howard Bloch is a professor at Yale whose previous books have had medieval French literature, the Bayeux tapestry and medieval misogyny as their subject matter. He has taken an entertaining diversion in his career by writing a relaxed and accessible book about Mallarmé’s poem of 1897, ‘Un coup de dés jamais n’abolira le hasard’ (‘One toss of the dice will never abolish chance’) and its place in belle époque Paris. The professor’s erudition and light touch need no Barnum-style booming. There is nothing incredible in the

Joining the dots

A new website, radio.garden, lets us browse radio stations across the globe. Nothing new about that. That’s been a key feature of wireless since the days of valves and crystals. Turning a knob and stopping off at Hilversum, Motala, Ankara or Reykjavik, if and when short-wave reception was possible, is part of radio’s magic, listening in to life elsewhere without having to leave the house. Now, though, with radio.garden (developed in Amsterdam by Jonathan Puckey for the Netherlands Institute for Sound and Vision, and part-funded by the EU), it’s possible to turn the globe that appears on your computer screen as soon as you log on to the site and

Order, order | 10 November 2016

The catalogue to Pallant House Gallery’s latest exhibition features a favourite anecdote. It is 1924 and a competition is being held to find the woman with the most pleasing vital statistics. As a paradigm, the judges choose the Venus de Milo. Thousands of women queue up to find out whether their measurements — not only bust, waist and hips, but thighs, calves, neck, wrists even —approximate closely enough to those of the ancient sculpture to earn them the prize of £5. No one thinks to mention that the Venus is missing both arms. Classical myth was all the rage after the first world war. When the world felt like chaos,

Behind the fringe

‘Sexual intercourse began / In nineteen sixty-three,’ Philip Larkin famously announced in his poem ‘Annus Mirabilis’, ‘Between the end of the Chatterley ban / And the Beatles’ first LP.’ But the key line is a far more private confession, caught in parentheses like a gloomy thought bubble: ‘(which was rather late for me)’. Few of Larkin’s contemporaries would have been more sympathetic than Alan Bennett. In 1963 he was appearing on Broadway in Beyond the Fringe, the hit satirical revue that also featured Peter Cook, Dudley Moore and Jonathan Miller; and while this led to him rubbing shoulders with the stars (the first- night audience included Rita Hayworth and Stravinsky,

The Spectator’s Notes | 6 October 2016

 Birmingham Checking in to my hotel room on the 18th floor, for the Conservative party conference here, I opened the door and bumped into a workman on a stepladder. ‘Sorry,’ he said, ‘They shouldn’t have let you in. All the water came through from the room upstairs.’ He was painting over the damage. Then he looked at me, recognised me and asked, ‘Hard or soft Brexit, then?’ I burbled slightly, not being happy with the distinction, but eventually said I thought ‘hard’ better described what was needed. The painter told me he read the Guardian and the Telegraph every day to ‘get both sides’. He reckoned ‘hard’, too: ‘It’s got

Estate agent

A big misunderstanding about art is that it excites serene meditation and transcendent bliss. But anyone who has worked in a public museum or a commercial gallery knows that this is untrue. The moral climate of the contemporary art world would embarrass the Borgias. Art excites peculation, speculation, back-stabbing, front-stabbing and avarice while fuelling nasty spats about attribution and ownership between heirs, relatives, executors and collectors. Nowhere is this more comically apparent than in the matter of artists’ estates. Once a private concern of family and lawyers, the ‘artist’s estate’ is becoming recognised as a tangible and valuable entity that needs professional management just like any other financial asset. Art

Preacher and prosecutor

Craig Raine is a pugnacious figure in the fractious world of contemporary poetry. When his poem ‘Gatwick’ appeared in the LRB (2015), social media had one of its habitual spasms. Here was a piece which indulged the male gaze and celebrated lustful yearning — an older man for a younger woman. Hardly new ground one might have thought; but to be fair it’s actually rather more subtle than that, and Faber’s former poetry editor responded to the howls of protest by saying: ‘Of course the stupid are always with us.’ In fact Raine rather likes a scrap and My Grandmother’s Glass Eye, in which poets and critics are mauled routinely

Polly’s pleb adventure

Down and Out in Paris and London is a brilliant specimen from a disreputable branch of writing: the chav safari, the underclass minibreak, the sojourn on the scrapheap that inspires a literary monument. Orwell’s first book was turned down by Faber boss T.S. Eliot, who received the script under its original title, Confessions of a Dishwasher. New Diorama’s dramatisation brilliantly captures the raffish sleaziness of Paris in the 1920s. Orwell’s crew of thieves, parasites and drifters come across as comradely and charming in this magnificently squalid setting. The austere lighting and the ingenious stage effects are done with tremendous economy. There are flashes of bleak humour too. Orwell’s anvil-faced landlady

Witness to the truth

George Bell (1883–1958) was, in many respects, a typical Anglican prelate of his era. He went to Westminster and Christ Church, and passed his career in the C of E’s fast stream. Never a parish priest, he became, first, chaplain (and later, biographer) of the Archbishop of Canterbury, Randall Davidson; next, Dean of Canterbury; finally, Bishop of Chichester. He was not an intellectual or a contemplative. He was an effective, energetic leader, strongly interested in public affairs, a natural candidate to end up as an archbishop of the established church. This did not happen, probably because Bell opposed ‘area’ Allied bombing of Germany in the second world war. Such carpet-bombing

In the wrong club

Groucho Marx was delighted when he heard that the script for one of his old Vaudeville routines was being reprinted in H.L. Mencken’s The American Language. ‘Nothing I ever did as an actor thrilled me more,’ he said. Indeed, argues Lee Siegel in his brief biographical study of the most verbal Marx Brother, Groucho’s ‘greatest regret in life … was that he had become an entertainer rather than a literary man’. How else to explain that excruciating evening in June 1964 when Groucho and his wife dined at the home of Mr and Mrs T. S. Eliot and Groucho thought to lecture Eliot on King Lear? To be fair, it

Could a piece with no singing be the future of opera?

Nowhere are human beings so magnificently self-assertive as in opera.  Everything about operatic characters is outsize; their bodies, their flowing gowns and capacious cloaks, and their desires. No sooner has the hero set his eyes on the leading lady than he trumpets his desire to possess her; when the villain spots his victim, he tells us how he longs to send him to hell. All this fervent emotion is channelled through those great ringing voices, aided and abetted by the orchestra’s surges and swells. It’s exhilarating to behold, partly because we envy these creatures their unbuttoned emotional life. We, by contrast, are held back by a thousand scruples and doubts.

Roaming in the gloaming

One of the epigraphs to Peter Davidson’s nocturne on Europe’s arts of twilight is from Hegel: ‘The owl of Minerva begins to fly only at dusk’, an image of philosophy as posthumous, able to explain things only after we have experienced them. Or an image of dusk as threshold, the blue hour when light transforms itself, and other worlds become possible. The Last of the Light is a cultural companion to such notions. A cabinet of curiosities — paintings, poems, music — framed by the idea of Europe as an archipelago of regret, many of whose most vital artefacts have dealt in echo and obscure longing, translated into a feeling

The great inscape

‘I am 12 miles from a lemon,’ lamented that bon vivant clergyman Sydney Smith on reaching one country posting. He was related to Gerard Manley Hopkins, a priest who, in the popular imagination, would quite possibly balk at the offer of a lemon. After all, 30 years before Prufrock, Hopkins did not dare to eat a peach, fearful of its delicious savour when offered one by Robert Bridges in a Roehampton garden. Hopkins was a complex man who delighted in simple things. Our sense of his view of the world has been complicated by the circumstances of his publication. Forbidden to publish his great ‘The Wreck of the Deutschland’, he

In a class of their own

Painters and sculptors are highly averse to being labelled. So much so that it seems fairly certain that, if asked, Michelangelo would have indignantly repudiated the suggestion that he belonged to something called ‘the Renaissance’. Peter Blake is among the few I’ve met who owns up to being a member of a movement; he openly admits to being a pop artist. The odd thing about that candid declaration is that I’m not sure he really is one. A delightful exhibition at the Waddington Custot Gallery presents Blake in several guises, including photorealist and fantasist, but — although one of the exhibits is an elaborate shrine in honour of Elvis Presley

The best children’s authors of 2015 — after David Walliams

The easy way round buying books for children at Christmas is just to get them the latest David Walliams and have done with it. And indeed, Grandpa’s Great Escape (Harper Collins, £12.99), about the sympathetic friendship of a grandfather and grandson, is funny, productive of intergenerational goodwill and spikily illustrated by Tony Ross, though, as my son observed, it’s a pity so many nice people in Walliams’s books end up dead at the end. Or else you could get any of these: Jacqueline Wilson’s Katy (Puffin, £12.99), a take on What Katy Did, which my daughter liked because the heroine is a tomboy; the latest ‘Tom Gates’ from Liz Pichon

Charles Williams: sadist or Rosicrucian saint?

Charles Williams was a bad writer, but a very interesting one. Most famous bad writers have to settle, like Sidney Sheldon, for the millions and the made-for-TV adaptations and the trophy wife. Williams had a following, and in the 1930s and 1940s some highly respected literary figures declared him to be a genius. But why did Williams appeal so strongly to a particular age — and what, if anything, can he offer us now? He belonged to that wonderful generation liberated by the 19th-century spread of education. He came from a family with no resources, but a terrible, pathetic yearning for literature. His father, Walter, managed to scrape into print,

Lines of beauty | 24 September 2015

David Jones (1895–1974) was a remarkable figure: artist and poet, he was a great original in both disciplines. His was an art of ‘gathering things in’ that engaged imaginatively with history and myth, with his Welsh heritage and the Christian religion. But art also comes out of conflict, and the tension between the two sides of Jones’s creative nature was the motive force that powered so much, both visual and written. Thus it can be misleading to separate his writing from his painting, for they form and express a single vision. However, Jones is presently most celebrated for his writing, particularly his first world war epic poem, In Parenthesis. Before

Time out of mind

There can hardly be two novelists less alike than Sebastian Faulks and Will Self, in style and in content. Faulks writes in the grand tradition of realist fiction: a list of his themes might include the brutality and waste of war, France and, of course, romantic love. Self, meanwhile, has created dystopias in which to satirise different aspects of humanity, while conjuring with all manner of stylistic invention. The one area of shared interest has been the history of psychiatry. Here, with Faulks’s new book, their preoccupations further converge. A student of literature on the lookout for a dissertation topic could do a lot worse than The Psychotic Century: 20th

Reducing poetry to a science

Is it possible to tell a good poem from a bad one? To put the question another way: are there objective, even scientific, standards for evaluating literature? Helen Vendler has no doubts. Her spiky new collection of essays begins with the insistence that it is possible to prove how one poem is ‘superior’ to another, and ‘those who suppose there are no criteria for such judgments merely expose their own incapacity’. That’s a bold claim, but in her hands, literary criticism is a science, and anyone who disagrees with her judgments is put sharply in their place. I should know: my observation, in a book I recently edited, that the