Peter Parker | The Spectator columnists & writers

Most readers have favourite books or authors they feel have been either forgotten or unjustly neglected. R.B. Russell, an assiduous book collector, did something practical about this when in 1990 he co-founded the Tartarus Press in order to bring the works of the once popular Arthur Machen back into print. Machen’s particular speciality was ‘weird fiction’, novels and stories that inhabit the borderland of this and other worlds, and Tartarus went on to reissue other authors in this genre, notably Robert Aickman and Sarban (otherwise the British diplomat John William Wall), as well as to publish new writers and a handful of classics. Fifty Forgotten Books inevitably includes a number of Tartarus authors, not only writers of supernatural and other-worldly fiction, but also Alain-Fournier, A.

The well of happiness – and despair: Queer St Ives reviewed

In the winter of 1952 the 21-year-old sculptor John Milne travelled to St Ives in Cornwall to take up a temporary job as an assistant to Barbara Hepworth. The arrangement was that he would become her pupil in exchange for helping her in the studio, but he was subsequently paid a small salary and ended up staying in her employ for two years. By this time, Milne had decided to settle in the town, which had become a thriving modernist artists’ colony, and in 1956 he acquired Trewyn House, a three-storey Victorian property next door to Hepworth’s studio. The reason a working-class boy from Eccles could afford so substantial a house was that it had in fact been bought for him by Cosmo Rodewald, a very wealthy American-born academic 16 years his senior who was also a collector of contemporary art.

We could all once tell bird’s-foot trefoil from rosebay willowherb

‘There are a great many ways of holding on to our sanity amid the vices and follies of the world,’ wrote Ronald Blythe in 2008, ‘though none better than to walk knowledgeably among our native plants.’ To many today, when the age-old connection between people and their indigenous flora is in danger of being extinguished altogether, this pronouncement may seem eccentric; but is rightly endorsed by Leif Bersweden in Where the Wildflowers Grow, which vividly describes the botanical journey through Britain and Ireland he undertook last year. He was born in 1994 and, unusually for his generation, has been a keen amateur botanist since childhood. There was a time, not that long ago, when being taught to recognise and name our native wild flowers was part of growing up, with colourful and informative posters of plants and trees hanging on classroom walls even in urban areas.

‘That little venal borough’: a poet’s jaundiced view of Aldeburgh

‘To talk about Crabbe is to talk about England,’ E.M. Forster declared in a radio broadcast in May 1941, but few people today talk about this Suffolk-born poet or indeed read him. This makes Frances Gibb’s slender but thorough account of George Crabbe’s life and work all the more welcome. In his time he was considered a leading, though controversial, figure, who wrote with stark realism about the spiritually and morally impoverished lives of East Anglian villagers and townspeople, in particular the inhabitants of the ‘little venal borough’ of Aldeburgh, where he was born in 1754 and spent an unhappy youth. After failing in his first career as an apothecary-surgeon, he entered holy orders, thanks to the patronage of the philosopher-statesman Edmund Burke, who also arranged for the publication of his protégé’s poetry.

Gay and abandoned: A Previous Life, by Edmund White, reviewed

Edmund White’s new novel opens, somewhat improbably, in 2050. This imagined future, however, springs few surprises on the reader and is in fact almost identical to the present. Indeed, the leap forward in time is merely a narrative device, allowing a 70-year-old Sicilian aristocrat to reminisce about his affair 30 years earlier with the elderly Edmund White, now long dead and more or less forgotten as a writer. Ruggero Castelnuovo has subsequently married a much younger American woman, Constance. The couple have made a pact never to talk about their past lives, but they now decide to write their private ‘confessions’, and much of the book is taken up with these largely sexual memoirs, sections of which they read aloud to each other.

A reappraisal of James Courage

James Courage is one of those fine writers who, though he enjoyed considerable success in his lifetime, has now more or less slipped from view. None of the eight novels he published between 1933 and 1961 is in print and most of them are impossible to find secondhand. The same goes for a collection of his short stories published in 1973. He is chiefly remembered for A Way of Love, a bold novel about a homosexual relationship that was published in 1959 and became a minor cause célèbre in New Zealand when it was banned there. Courage was born in New Zealand in 1903, but came to Oxford University in 1922. After graduation, he moved to London and would spend most of his life there, apart from a 17-month period of recuperation back in his home country after he had been treated for tuberculosis in the early 1930s.

How two literary magazines boosted morale during the Blitz

William Loxley’s lively account of ‘Bloomsbury, the Blitz and Horizon magazine’ begins with W.H. Auden and Christopher Isherwood emigrating to the United States in January 1939 and ends with George Orwell dying in University College Hospital in January 1950. Between these two events Loxley explores the often interconnected professional and personal lives of a number of British writers, publishers and editors — principally Orwell, Leonard and Virginia Woolf, Cyril Connolly, Stephen Spender, John Lehmann and Dylan Thomas — during the second world war and its immediate aftermath. Faced with criticism in both public and private for his and Auden’s ‘defection’, Isherwood attempted in January 1940 to justify his action to Spender by writing: ‘I believe that the future of English culture is in America, and that the building of the future will be assisted by the largest possible cultural emigration.

All good friends and jolly good company: life with the Crichel Boys

In the spring of 1945 three men pooled their resources in order to buy Long Crichel House, a former rectory built during the reign of Queen Anne in a secluded Dorset village. Desmond Shawe-Taylor and Edward Sackville-West were highly influential music critics, while Eardley Knollys, a former gallery owner, was now assistant secretary to the National Trust and a painter. The idea was for the three friends to live communally but each have their own parts of the house where they could work undisturbed and enjoy some privacy. The house was in fact large enough to accommodate not only a live-in butler and cook-housekeeper but, from 1949, a fourth partner, Raymond Mortimer, the leading literary and art critic of the day.

Poise and wit: The Collected Stories of Shirley Hazzard reviewed

Shirley Hazzard was in her late twenties when, in 1959, somewhat diffidently, she submitted her first short story to the New Yorker. It was, William Maxwell remembered, ‘an astonishment to the editors, because it was the work of a finished literary artist about whom they knew nothing whatever’, and he immediately accepted it for publication. Hazzard’s arrival as a fully formed and refreshingly cosmopolitan writer was a result of her peripatetic and often unhappy early life. ‘By the time I was 25, I had emerged from a lot of trouble,’ she recalled. ‘I had also, more interestingly, lived for appreciable periods in six countries and diverse languages.’ She was born in Australia, but her family relocated to Hong Kong, where at the age of 16 she joined the Office of British Intelligence and fell deeply in love with an older colleague.

The establishment was always covering up for Bob Boothby

Just after John Pearson finished writing The Profession of Violence, his celebrated biography of the Krays, both his and his agent’s officeswere broken into. Letters from Lord Boothby to Ronnie Kray had disappeared, as had a copy of the book’s manuscript. Pearson then received a telephone call from the high-powered lawyer Lord Goodman, who warned him that the book libelled Boothby. A subsequent phone call from Goodman to Pearson’s publisher led to the book’s contract being cancelled. Mr Fixit, as Goodman was unaffectionately known, already had form as far as Boothby and the Krays were concerned, having in 1964 put pressure on the Sunday Mirror not only to retract a story about the relationship between a ‘prominent peer’ and a London gangster but to pay the peer a staggering £40,000 by way of apology.

Without Joseph Banks, Cook’s first voyage might have been a failure

When the wealthy young Joseph Banks announced that he intended joining Captain Cook’s expedition to Tahiti to observe the Transit of Venus, friends asked why he didn’t instead do the Grand Tour. ‘Every blockhead does that,’ Banks replied. ‘My Grand Tour shall be one round the whole globe.’ It was a wise decision, and his voyage on HMS Endeavour would be the making of him. He returned with an extraordinary haul of natural history specimens and would thereafter more or less fall into important roles on the strength of his experiences, whether it was as the unofficial director of Kew, which he would make into the world’s most important botanical garden, or ‘head of Australian affairs’, enthusiastically promoting the newly discovered country as a penal colony.

Flower power: symbols of romance and revolution

Critics have argued over the meaning of the great golden flower head to which Van Dyck points in his ‘Self-Portrait with a Sunflower’. It probably symbolises the radiant majesty of the painter’s patron, Charles I, but for Van Gogh the sunflower ‘embodied and shouted out yellow, the colour of light, warmth and happiness’. In the Victorian language of flowers the plant denoted pride or haughtiness, but its tendency to turn its head to the sun led Byron’s abject Julia to use its image on a seal for her final letter to Don Juan with the accompanying motto Elle vous suit partout. The sunflower has been adopted as an emblem by such diverse groups as the American women’s suffrage movement in 1896, the devoted followers of Chairman Mao in 1960s China and the Green Party in Germany in the 1980s.

Capturing the mood of the English landscape: the genius of John Nash

‘If I wanted to make a foreigner understand the mood of a typical English landscape,’ the art critic Eric Newton wrote in April 1939, ‘I would first show him a good Constable and then one or two of John Nash’s best watercolours.’ This is about as good an endorsement any painter could ask for, but Nash is more usually bracketed with, and overshadowed by, his older brother. There have been major exhibitions of Paul Nash’s work at the Dulwich Picture Gallery in 2010 and at Tate Britain three years ago, whereas the last truly substantial retrospective of John’s work was at the Royal Academy in 1967. Andrew Lambirth’s handsome and hefty new book attempts to redress the balance, and it makes a very convincing case for considering John Nash in his own right.

Was there some Freudian symbolism in Lucian’s botanical paintings?

In early paintings such as ‘Man with a Thistle’ (1946), ‘Still-life with Green Lemon’ (1946) and ‘Self-portrait with Hyacinth Pot’ (1947–8) Lucian Freud portrayed himself alongside striking plant forms, giving equal weight to the vegetable and the human. Similarly, his first wife, Kitty, was depicted in portraits from the same period more or less obscured by a fig leaf held in front of her face, or apparently threatened by the leafy branch of a plant thrusting into the picture plane. Throughout Freud’s career, people would continue (sometimes equally uneasily) to share space with plants, notably Harry Diamond confronting a yucca in ‘Interior at Paddington’ (1951) and the artist himself squeezed into the background by a pandanus in ‘Interior with Plant, Reflection Listening’ (1967–68).

Feasts and flowers

Cedric Morris is often referred to as an artist-plantsman, and while as a breeder of plants, most particularly of irises, he has always been highly regarded in horticultural circles, his reputation as a painter has been subject to regular fluctuations. Last year, two excellent and complementary London exhibitions — Cedric Morris: Artist Plantsman at the Garden Museum and Cedric Morris: Beyond the Garden Wall at Philip Mould & Company — did a great deal to revive interest in his paintings; and so a joint biography of Morris and his partner Arthur Lett-Haines is welcome. They met in 1918 at an Armistice party hosted by Lett (as he was always known) and his wife. The married couple were about to emigrate to America, but at the last moment Lett decided to stay behind and instead set up house with Morris in the artists’ colony at Newlyn in Cornwall.

On a wing and a prayer | 27 June 2019

In 1979, despite the best efforts of scientists for more than a century, a butterfly called the British Large Blue became extinct. There is widespread concern about the more recent decline in butterfly populations, but the American ecologist Nick Haddad writes that the collective weight of the known populations of the five rarest butterflies he discusses in his sobering book is just ‘three pounds five ounces — as much as one panda’s paw’. The special importance of butterflies, he argues, is that they provide lessons about the decline and management of other threatened species. The fate of the British Large Blue shows how difficult it can be to conserve a creature that requires very specific conditions in order to survive: not only wild thyme, its main food source, but also colonies of a particular species of ant on which the caterpillars preyed and which itself favoured steep, south-facing slopes, and rabbits to keep the grasses to less than 2.

Messing about on the river

The title of Matthew Dennison’s new biography of the man who wrote The Wind in the Willows appears to nod to another children’s classic of the Edwardian period. J.M. Barrie subtitled Peter Pan — first staged in 1904, four years before the publication of Kenneth Grahame’s book — ‘The Boy Who Wouldn’t Grow Up’, and once declared: ‘Nothing that happens after we are 12 matters very much.’ It is Dennison’s contention that for Grahame the clock stopped even earlier. ‘I feel I should never be surprised to meet myself as I was when a little chap of five, suddenly coming round a corner,’ he quotes him writing in 1907: I can remember everything I felt then, the part of my brain I used from four to about seven can never have altered … After that time I don’t remember anything particularly.

A pearl of great price

Objectivity seems to be difficult for historians writing about Britain’s long and complicated relationship with India, and this makes the even-handedness David Gilmour achieves in books such as The Ruling Caste both unusual and welcome. In his enlightening and wonderfully detailed new portrait of The British in India, he states that he is ‘not seeking to make judgments or to contribute to any debate about the virtues and failings of imperialism’, although a brief Envoi supplies some ‘concluding reflections’ on what he acknowledges is a controversial subject. His is a social rather than a political history, focussing on what used to be known as Anglo-Indians not as mere representatives of colonialism but as ‘individuals trying to deal with the eternal problems of human behaviour and relationships’.

How pleasant to know Mr Lear

Edward Lear liked to tell the story of how he was once sitting in a railway carriage with two women who were reading aloud to children from his Book of Nonsense. When a male passenger confidently asserted that ‘There is no such person as Edward Lear’, the writer was obliged to prove his own existence as ‘the painter & author’ (in that order) by showing the passengers his name on his hat, handkerchief and visiting card. In an extraordinary drawing of this event, Lear depicted himself and the two women realistically, but the doubting man is a cartoonish figure straight out of one of his limericks. Lear’s two worlds of ‘art and nonsense’ wonderfully collide in this anecdote and its illustration. To be told that one does not exist nods at Lear’s feeling that his paintings were admired only by a select audience and places him in the absurdist position of the limericks’ protagonists.

Drowning in mud and blood

George Orwell’s suggestion that the British remember only the military disasters of the first world war is certainly being borne out by the centenary commemorations. The focus of each year so far has been Gallipoli, the Somme and now the Third Battle of Ypres, popularly known as Passchendaele. The basic story is familiar. On 31 July 1917, in torrential rain, General Haig launched an attack against German positions in the Ypres Salient. The troops had to advance over ground that rapidly turned into a quagmire, shells having already destroyed the area’s network of drainage ditches. The attacks would continue sporadically, against the advice of those on the ground and often in atrocious weather, until November. Men were repeatedly ordered towards impossible objectives against overwhelming odds, with the result that little was gained at a huge cost.

Undone by love

On the Whitsun weekend of 1935 an art student called Denton Welch was knocked off his bicycle by a car and suffered catastrophic injuries, including a fractured spine. Although he made a remarkable partial recovery, he subsequently endured regular bouts of disabling illness, and would die in 1948 aged only 33. Welch continued to paint after the accident, but also began writing the autobiographical fiction for which he is now best known, publishing his first novel, Maiden Voyage, in 1943. By this time he was living in a chauffeur’s flat over a garage in rural Kent. When well, he was able to walk and bicycle around the countryside, exploring buildings and hunting for antiques, and watching young men bathing, their likely fate in the war emphasising his already well-developed sense of the fragility of life.

Spectator Books of the Year: The dangers of unrequited love

My novel of the year was What Belongs to You (Picador, £12.99), Garth Greenwell’s slender, poised, clear-eyed and devastating account of the depths to which unrequited sexual obsession can lead you, particularly if you become entangled with a rent-boy in Sofia. I also enjoyed and admired Aravind Adiga’s funny and touching Selection Day (Picador, £16.99), in which cricketing prodigies in Mumbai face googlies from both bowlers and life. And Tom Bullough’s densely and thrillingly written Addlands (Granta, £14.99), which traces the lives of a farming family on the Welsh borders through 70 years. Treat of the year was Richard Stokes’s The Penguin Book of English Song (Penguin, £30), an original and invaluable anthology of poems that have been set to music.

In life divided

The ten pallbearers at Thomas Hardy’s funeral in Westminster Abbey on 16 January 1928 included Kipling, Barrie, Housman, Gosse, Galsworthy, Shaw and both the prime minister and leader of the oppposition. This distinguished gathering was not strictly necessary for the job at hand, because Hardy’s coffin merely contained his ashes — all that there was room for in Poets’ Corner. At exactly the same time in Dorset, at a smaller funeral, a casket containing Hardy’s unincinerated heart was being borne to its final resting place alongside his parents and his first wife in the churchyard at Stinsford. As Mark Ford observes, this macabre compromise between the nation’s and the author’s wishes seems appropriate for a writer whose life and career was divided between the capital and the countryside.

Broken and mad

In the final months of 1914, medical officers on the Western Front began seeing a new kind of casualty. Soldiers who had no physical injury were displaying a wide range of alarming symptoms. Some appeared to be completely dazed or were shaking uncontrollably, others had lost their sense of taste or smell, or were suffering from blindness, mutism and various kinds of paralysis. It was not until February 1915 that the term ‘shell shock’ first appeared in print, in the Lancet. It was originally intended to describe a physical condition in which the brain had been damaged by the percussive effects of high explosives, but was subsequently adopted to describe many different forms of battle trauma. Unsurprisingly, the incidence of shell shock rose dramatically during the battle of the Somme.

Action this day

‘July 1st 1916 was the most interesting day of my life,’ Philip Howe recalled, with characteristic English dryness, half a century after taking part in the most catastrophic 24 hours in the history of the British army. Howe had been a lieutenant in the 10th West Yorkshires, which had the grim distinction of losing more men during the first day on the Somme than any other battalion: of the 1,050 that went into battle, 710 became casualties, 60 per cent of whom were killed. At the end of the day Howe was the only officer left standing, and many other battalions had suffered almost as badly. The 1st Newfoundlanders lost 684 men, including all 26 of their officers, and the 11th East Lancashires, known as the Accrington Pals, suffered over 80 per cent casualties within minutes of the attack being launched: it was said that it had taken a mere ten days to raise the battalion and a mere ten minutes to annihilate it.

The other trenches: the Dardanelles, 100 years on

In August 1915, in his tent at GHQ on the Aegean island of Imbros, General Sir Ian Hamilton, commander-in-chief of the Gallipoli expedition, woke from a dream in which someone was attempting to drown him in the Hellespont. ‘For hours afterwards,’ he wrote in his diary, ‘I was haunted by the thought that the Dardanelles were fatal: that something sinister was afoot: that we, all of us, were pre-doomed.’ This was not how it had seemed when what had been confidently designated ‘the Constantinople expedition’ set out for the distant and largely unknown Turkish peninsula. As an exhilarated Rupert Brooke had explained to his mother: We are going to be part of a landing force to help the fleet break through the Hellespont and the Bosphorus and take Constantinople, and open up the Black Sea.

Sophia Duleep Singh: from socialite to socialist

Princess Sophia Alexandrovna Duleep Singh (1876–1948) had a heritage as confusing as her name. Her father was a deposed Indian maharajah who had been exiled to England, her mother the Cairo-born illegitimate daughter of a German merchant and an Abyssinian slave. The young princess was brought up in considerable splendour on a vast Suffolk estate as a thoroughly anglicised aristocrat who would be presented at court and become an enthusiastic participant in the Season before unexpectedly joining the battle for women’s suffrage. Anita Anand traces what she calls the ‘roots of rebellion’ to Sophia’s father. Duleep Singh had been proclaimed maharajah of the Punjab at the age of six, after his path to the throne of his putative father, Ranjit Singh, had been cleared rather in the manner of Kind Hearts and Coronets.

David Hockney, our most popular and hardworking living artist, returns to the easel

The first volume of Christopher Simon Sykes’s biography of David Hockney ended in the summer of 1975. The 38-year-old painter had just returned to Paris, where he was then living, ‘energised’ by the widespread acclaim that greeted his designs for the Glyndebourne production of Stravinsky’s The Rake’s Progress. Energy was something Hockney would need in the years ahead when the time he always wanted to devote to painting was frequently interrupted by side-projects such as stage design or an investigation into earlier painters’ use of the camera lucida, sudden passions for new technology, and the increasing demands of celebrity. A constant theme of this second volume is Hockney’s desire to get back to the easel, and it closes with A Bigger Picture, the enormously popular exhibition of his paintings of the Yorkshire landscape at the Royal Academy in 2012.

The long and disgraceful life of Britain’s pre-eminent bounder

In his time, Gerald Hamilton (1890–1970) was an almost legendary figure, but he is now remembered — if at all — as the model for the genial conman in Christopher Isherwood’s novel Mr Norris Changes Trains (1935). ‘There are some incidents in my career, as you doubtless know, which are very easily capable of misinterpretation,’ Arthur Norris tells the book’s narrator, and Hamilton affected to be deeply shocked by the assorted vices attributed to his fictional alter ego. He nevertheless exploited the connection throughout his long and disgraceful life. When Isherwood met him, Hamilton (né Souter) was employed in Berlin by the Times as its German sales representative. He also moonlighted as a fixer for Willi Münzenberg, ‘the notorious communist, who presides in Berlin on behalf of Moscow over the doings of the League Against Imperialism and Friends of Soviet Russia’, as British Intelligence described him.

Wednesday

Thursday

Thursday

Thursday

Thursday

Thursday

Thursday

Thursday

Thursday

Thursday

Thursday

Thursday

Thursday

Thursday

Thursday

Thursday

Thursday

Thursday

Thursday

Thursday

Thursday

Tuesday

Thursday

Thursday

Thursday

Thursday

Thursday

Thursday

Thursday