Posts Tagged ‘Evelyn Waugh’
October 30, 2014 | by Dan Piepenbring
- “Whatever type styles were available to The Paris Review founders at the time of printing had just been embraced without our modern preoccupations of ‘branding’ and ‘identity.’ It was less a carelessness than a carefree-ness. At first the uptight twenty-first-century graphic designer in me was frustrated by this inconsistency, but I came to rather admire the early Reviewians for maintaining a consistent voice while continuing to see themselves anew with each issue.” An interview with our art editor, Charlotte Strick.
- “American Sign Language isn’t a translation of English. It’s a language with its own grammar and idioms. Sign language speakers also have their own accents … There are also variations in sign language speed. New Yorkers are notorious fast-talkers, while Ohioans are calm and relaxed. New Yorkers also curse more.” (We’re foul-mouthed, even with our hands.)
- When did the chapter emerge as one of the most essential tools in book-length writing and storytelling? “The chapter has become a way of looking at the world, a way of dividing time and, therefore, of dividing experience. Its origins date back to long before the printing press or even the bound codex, back to the emergence of prose in antiquity as both an expressive and an informational medium. Literary evolution rarely seems slower than it does in the case of the chapter.”
- After Evelyn Waugh married for the second time, he received a letter from a woman he’d known as a student at Oxford: “I think of you all the time when I am making love, until the word and Evelyn are almost synonymous! And in the darkness each night & in the greyness of each morning when I wake I remember your face—& your voice and your body and everything about you so earnestly and intensely that you become almost tangibly beside me.”
- Orson Welles’s unfinished final film, The Other Side of the Wind, may finally see release next year for the centenary of his birth. “The main character’s life has echoes in Hemingway’s: his father’s suicide, the day of his death, his love of Spain … Welles explores the last day of the fictional director’s life before he dies in a car crash that could be an accident or a suicide.”
October 28, 2014 | by Dan Piepenbring
Evelyn Waugh was born today in 1903. You can read his Art of Fiction interview here, but there’s also, courtesy of the Spectator’s seemingly endless archives, this unverified bit of trivia from a letter to the paper sent in 1971:
Sir: Colin Wilson, your reviewer of Graham Greene’s autobiography A Sort of Life quotes from a supposed remark that Evelyn Waugh made to Greene—‘You know, Graham, you’ve made more money out of God than Wodehouse made out of Jeeves.’
I believe there are other versions of this story, although I cannot now remember who told me mine.
A few years ago, while in New York, I was but a stone’s throw from the Algonquin Hotel, Mr. Waugh and Mr. Greene were staying in the hotel. Late in the night Mr. Waugh popped into Mr. Greene’s room where a publisher’s party was still going strong to celebrate another Greene book. At some point during this party Evelyn Waugh announced: ‘You know, Graham, you’ve made more money out of the Devil than I’ve made out of God.’
Apocryphal or otherwise, the story does contain a more typical Waugh bite than the Jeeves analogy.
October 28, 2013 | by Sadie Stein
Whom do you read for pleasure?
Anthony Powell. Ronald Knox, both for pleasure and moral edification. Erle Stanley Gardner.
And Raymond Chandler!
No. I’m bored by all those slugs of whiskey. I don’t care for all the violence either.
But isn’t there a lot of violence in Gardner?
Not of the extraneous lubricious sort you find in other American crime writers.
What do you think of other American writers, of Scott Fitzgerald or William Faulkner, for example?
I enjoyed the first part of Tender Is the Night. I find Faulkner intolerably bad.
—Evelyn Waugh, the Art of Fiction No. 30
July 22, 2013 | by Sadie Stein
“If it could only be like this always—always summer, always alone, the fruit always ripe and Aloysius in a good temper …” So says Sebastian Flyte of his teddy bear, one of the most memorable minor characters in Brideshead Revisited. Both affectation and security totem, Aloysius (played in the iconic ITV miniseries by one Delicatessen) was modeled on a real toy: Archibald Ormsby-Gore, who belonged to Evelyn Waugh’s Oxford friend John Betjeman.
And while Aloysius may be Archibald’s most famous literary representation, it’s not the only one: in the 1940s, Betjeman wrote a book for his children, titled Archie and the Strict Baptists. (The main character, a practicing Baptist, is a keen amateur archeologist.) An illustrated version appeared in 1977. The bear, which Betjeman was holding when he died, now resides in St. Pancras, with his elephant companion, Jumbo.
June 13, 2013 | by Sadie Stein
Of Mr. Capote’s prose it is hard to speak temperately. It is some sort of jargon quite unfamiliar to me. Of the information he seeks to convey, I am no judge. I have a distant acquaintance with a few of the subjects. Mr. Cecil Beaton I have known, not well, for nearer fifty than forty years. He has always struck me as a genial, hospitable, light-hearted fellow; to Mr. Capote he is ‘one of the most remarkable fellows alive’; and formidable, ‘bitter as bile to those in the Beaton bad-book, unhappy souls who entered this no-exit Hades’; and ‘haughty’; but above all ‘serious.’ ‘When discussing personalities Beaton invariably, asks, “But would you say X is a serious person?”’ Not invariably, Mr. Capote, I assure you. I have never heard him ask this question. Perhaps he likes to pull their legs a little when he goes to America.
—Evelyn Waugh on Observations, by Truman Capote and Richard Avedon, 1959. (Made available along with the rest of The Spectator’s vast archive.)
Image via ColinSpencer.co.uk.
May 2, 2012 | by Leanne Shapton and Ben Schott
|Havisham’s Complexion1||Anti-Sex Scarlet2||Plum Purple3||Closed Eyelid4|
|Green Paste5||Rain Stone6||Nothing7||Esther’s Sauce8|
|Anthracite Brazier9||Dove10||Encrimsoned11||Foul Mood12|
|Snot13||Eyes14||Aschenbach’s Youth15||Saffron Silk16|
|Elm Shadow17||Paris18||Paper Smell19||England20|
|Rat Brown21||20,00022||Dorian Scarlet23||Lilac Ocean24|
|Basking Pear25||March Morning26||Sour Apple27||Gulag28|
- “ ‘Dear Miss Havisham,’ said Miss Sarah Pocket. ‘How well you look!’ ‘I do not,’ returned Miss Havisham.‘I am yellow skin and bone.’” ‘Great Expectations,’ Charles Dickens.
- “A narrow scarlet sash, emblem of the Junior Anti-Sex League, was wound several times round the waist of her overalls, just tightly enough to bring out the shapeliness of her hips.” ‘Nineteen Eighty-Four,’ George Orwell.
- “ ‘Not those socks, Jeeves,’ I said,gulping a bit but having a dash at the careless, off-hand tone. ‘Give me the purple ones.’ ‘I beg your pardon, sir?’ ‘Those jolly purple ones.’ ‘Very good, sir.’ ” ‘The Inimitable Jeeves,’ P. G. Wode- house.
- “I pulled up my feet, bent my knees, and rested my chin on my hand. Then I closed my eyes. Still no sounds. The darkness behind my closed eyelids was like the cloud-covered sky, but the gray was somewhat deeper.” ‘The Wind-up Bird Chronicle,’ Haruki Murakami.
- “I bought makeup in tubes off a rack, and in the cold and dirty toilet of the gas station, I attempted a transformation, slapping buff-colored liquid over my face and rubbing green paste on my eyelids.” “Dulse,” Alice Munro.
- “A rainstorm would last hours, soaking the ruined outbuilding nearby, darkening its stones.” “St. Martin,” Lydia Davis.
- “Taken to his uncle’s house once, he had stumbled on her in the soft pink bedroom. Ida had just emerged from her bath and she sat in a powder blue nothing before a mirror at a little table crammed with jars.” ‘The Apprenticeship of Duddy Kravitz,’ Mordecai Richler.
- “He taught me how to eat avocados by melting grape jelly and french dress- ing together in a saucepan and filling the cup of the pear with the garnet sauce.” ‘The Bell Jar,’ Sylvia Plath.
- “At the street corner there was a brazier alight, the red cones of anthracite beautifully glowing, and a whiff of heat shedding from it.” ‘Girls in Their Married Bliss,’ Edna O’Brien.
- “Passersby, who, of course, stopped and stared, had just time to see a face of the very greatest importance against the dove-gray upholstery, before a male hand drew the blind and there was nothing to be seen except a square of dove gray.” ‘Mrs. Dalloway,’ Virginia Woolf.
- “Feeble gleams of encrimsoned light made their way through the trellised panes, and served to render sufficiently distinct the more prominent objects around.” “The Fall of the House of Usher,” Edgar Allan Poe.
- “At home I’d slept for several hours then woke to a blue light and in a foul mood.” ‘Ticknor,’ Sheila Heti.
- “Tom was crying. He put his knuckles in his eyes the way little girls do on biscuit tin lids. A large tube of green snot hung out of one nostril, and when he sniffed it bobbed out of sight.” ‘The Cement Garden,’ Ian McEwan.
- “Pretty eyes. Pretty blue eyes. Big blue pretty eyes. Run, Jip, run. Jip runs, Alice runs. Alice has blue eyes. Jerry has blue eyes. Jerry runs. Alice runs. They run with their blue eyes. Four blue eyes. Four pretty blue eyes. Blue-sky eyes. Blue-like Mrs. Forrest’s blue blouse eyes. Morning-glory-blue-eyes. Alice-and-Jerry-blue-storybook-eyes.” ‘The Bluest Eye,’ Toni Morrison.
- “ ‘Surely you will permit me to restore what belongs to you?’ ‘How?’ asked Aschenbach. For answer the oily one washed his client’s hair in two waters, one clear and one dark, and lo, it was as black as in the days of his youth.” ‘Death in Venice,’ Thomas Mann.
- “But still at home, ignoring him, I’ll stay . . . Beautiful, clad in saffron silks all day.” ‘Lysistrata,’ Aristophanes.
- “On a sheep-cropped knoll under a clump of elms we ate the strawberries and drank the wine—as Sebastian promised, they were delicious together—and we lit fat, Turkish cigarettes and lay on our backs, Sebastian’s eyes on the leaves above him, mine on his profile, while the blue-gray smoke rose, untroubled by any wind.” ‘Brideshead Revisited,’ Evelyn Waugh.
- “In Paris, Cyril had a room away from his mother. I could already imagine the window open to the pink and blue sky, the wonderful sky of Paris, with the pigeons cooing on the windowsill, and with Cyril beside me on the narrow bed.” ‘Bonjour Tristesse,’ Françoise Sagan.
- “It used to disturb me at first. I thought seriously of burning the house—to reach the smell. But now I am used to it. The only thing I can think of that it is like is the color of the paper! A yellow smell.” “The Yellow Wallpaper,” Charlotte Perkins Gilman.
- “At Gatwick they found a taxi without difficulty. It was raining, as it always seemed to be when you returned to England. Graham gazed through the speckled window. Why did every- thing green seem to have so much brown in it here? And how was it possible for things to be both damp and dusty at the same time?” ‘Before She Met Me,’ Julian Barnes.
- “It was a rough and ugly thing, an overall length of twenty-eight feet, a five-foot draft and just that one junk sail, but with a respectable three hundred and fifty square feet. A trim tab rudder hung on the stern. She was heavy and slow. And very ugly. I made her more ugly by painting her rat brown.” ‘The Shipping News,’ Annie Proulx.
- “The solar rays shone through the watery mass easily, and dissipated all color, and I clearly distinguished objects at a distance of a hundred and fifty yards. Beyond that the tints darkened into fine gradations of ultramarine, and faded into vague obscurity.” ‘Twenty Thousand Leagues Under the Sea,’ Jules Verne.
- “His finely chiseled nostrils quivered, and some hidden nerve shook the scarlet of his lips and left them trembling.” ‘The Picture of Dorian Gray,’ Oscar Wilde.
- “The sky turns a soft lilac. Seeing this magnificent, enchanting sky, the ocean frowns at first, but soon itself takes on such tender, joyful, passionate colors as human tongue can hardly name.” “Gusev,” Anton Chekhov.
- “Grapes for the asking, / Pears red with basking / Out in the sun, / Plums on their twigs; / Pluck them and suck them, / Pomegranates, figs.” “Goblin Market,” Christina Rossetti.
- “It was a typical March morning when we got up to drive them to the train: blowy, dark, with spits of rain now and then.” ‘The Country Wife,’ Dorothy Van Doren.
- “White halogen off the green of the composite surface, the light out on the indoor courts at the Port Washington Tennis Academy is the color of sour apples.” ‘Infinite Jest,’ David Foster Wallace.
- Both of us were weak, dried out; our skin was grayish-yellow on our bones.” ‘The Gulag Archipelago,’ Aleksandr Solzhenitsyn.