Sunday, May 4, 2014

Yellowed Leaves: Five Poems - Knud Holmboe

"Even the finest thought
is only a yellowed leaf,
whirled down by an autumn gale..."



Knud Holmboe (1903-31) was a Danish explorer, author and poet who converted to Islam, adopted Arab dress, and crossed the deserts of North Africa in a Chevrolet. He was critical of the Italian occupation of Cyrenaica, and his death at the hands of bandits has sometimes been linked to the Fascist colonial authorities. His book about his adventures, Desert Encounter, was translated into English in 1936, when he was compared to Lawrence of Arabia. His youthful volume Digte (Poems, 1925) is now rare.

Yellowed Leaves, our handmade edition, offers the first known English translation of five of his poems, in versions jointly made by Mark Valentine and Mads Peder Lau Pedersen. They reflect Holmboe’s moods of autumnal melancholy, in the tradition of Georg Trakl or Georges Bacovia, as well as his fervent celebrations of spring and the call of the spirit. A Note on Holmboe is included. Jo Valentine has created a concertina book with hand-sewn signatures and Fabriano pastel paper covers, and her design reflects a falling leaves motif as the pages open.


This is the fifth publication from the Valentine & Valentine imprint, and is in a limited, numbered edition of 25 copies only (and 3 not for sale).

Update - all copies have now been taken. We hope to announce another publication in due course.

Thursday, May 1, 2014

The Nouveau Riche of Ripponden - a glimpse into the early life of Rex Ryan

The contemporary newspaper reports shown here relate to Walter Arnold Grosvenor Bradley, the father of Evelyn Bradley, who later adopted the stage name Rex Ryan and wrote a series of bizarre thriller novels in the 1930s under the byline R.R. Ryan.  Walter Bradley had been arrested for company fraud and was to spend some time in prison.  The reports provide some curious insights into the early life of Rex Ryan and the actor, playwright and writer he was to become.

The Nouveau Riche of Ripponden (The Yorkshire Post, 23 October 1901)

We do not know why the loss of a princely and pious benefactor is not bewailed at Ripponden; for Mr. Walter Arnold Bradley, who last week sold up his establishment and does not contemplate residing there again, seems entitled to the regrets of its inhabitants. They have known him for five years, have found him open-handed beyond all experience, have admired the usage of family prayers in a twenty roomed villa, the softness of disposition in a man who drove a pair of match bays and chartered saloon carriages, and have elected him people's warden. Mr. Bradley was as liberal as Monte Christo, and innocent of revengeful purposes. If not a selfish impulse of regret, then consternation and sympathy, would seem to be emotions proper to the spectacle of his arrest under a charge of vulgar fraud which has not been proved. The arrest, however, is regarded as rounding off a mystery. Mr. Bradley did not tell the astonished villages where he came from. They feel that they accepted him on trust, and therefore on probation. There is a disposition to regard this disastrous close as, natural, perhaps fitting; and it would instruct a story-writer given to the study of social comedy to be upon the scene.

Nothing inconsistent with Mr. Bradley's innocence of the charge is to be heard in all this gossip, and the true interest of it is merely picturesque. He came from nobody knew where to the little place five years ago, took Ryburn House and furnished it palatially, and told nobody his business. He may be supposed to have felt that he owed nobody an explanation. It was not as if he meant to hide his light under a bushel; Mr. Bradley lived from the first in the public eye--constituted himself, indeed, a sort of Ripponden windfall. There was just a spice of ostentation in it, for he made it a point of etiquette that letters should not be addressed to Mr. W. A. Bradley, but to W. A. Grosvenor Bradley. The name “Grosvenor” was one in which he took a certain family pride, it seemed; he had acquired it by some remote but honourable connection with a well-known aristocratic family. Otherwise Mr. Bradley's manners were exemplary. He gave to troublesome people on several occasions the soft answer which turneth away wrath—and envious disesteem. He was a regular worshipper at Ripponden Church, a generous donor to its funds, and a warm admirer of Evangelical doctrine and methods. It appeared that his costly taste an matters, appertaining to domestic art had not perverted a sturdy Protestantism; he had not, and never could have, the least sort of sympathy with ecclesiastical high ritual. The family prayers at Ryburn edified a large establishment, including a coachman, a groom, gardeners, and a liberal complement of female servants. It was reported that he led their devotions with unusual fervour. He wished his coachman and groom to be at liberty on Sundays to attend a place of worship, and gave a weekly rest to his pair of bays. That he should not escape calumny was inevitable. Village gossip made much of the fact that, his servants never stayed long, and the servants, or some of them, may be supposed to have talked resentfully. There were quarters in which opinion presently went against him, and where it was conjectured shrewdly that Mr. Bradley was either a pawnbroker or a money lender. Bet all these detractors could learn about the source of his apparently boundless wealth was that he did business in Manchester.


 Ryburn House, Ripponden

“Light come, light go," was a proverb quoted against him with headshakings; for he tipped the railway porters  handsomely, tipped any man who did him service and would take his money, tipped the disaffected servants most of all—with an occasional bonus of a sovereign added to their monthly wages, or of half-a-sovereign supplementing a visitor's vails. His visitors themselves were royally entertained. It was for their comfort and exclusiveness, not his own, that he sometimes nut a saloon carriage. He made no close inquiry as to the merits of "deserving objects," but was to every one alike a cheerful giver.  Is it, or is it not, creditable to the charity and common sense of Ripponden that, by way augment the mystery of a liberal man’s resourcefulness, a story went the rounds that he had one secret room at Ryburn, which none but he was allowed to enter, and that, if the contents and what he did there could be known, the whole truth about Mr Grosvenor Bradley would be manifest?  Gossip named the room Bluebeard’s Chamber. It seems to have been a writing room – simply furnished with a desk, a couch, a nest of pigeon holes, a few bentwood chairs, and a screen to ward the draughts off.

But Mr Bradley’s reticence was taken as a challenge. In a Yorkshire village reticence is a mistake. There were bets about him in the public-houses, and more than once he was followed to Manchester. The mystery remained a mystery, nevertheless, until the other day.

For some time past Mr Bradley had reduced his expenditure without abating it. He kept fewer servants. He was not as often seen at church either; and business at Manchester engaged him rather more closely. Finally, like a bombshell, came the announcement: “Mr Thomas Arnold, instructed by a gentleman who is leaving the neighbourhood, will sell by auction the very handsome and costly appointments” at Ryburn. The sale took place on Tuesday and Wednesday last week.  The whole village was at liberty to go and look at Bluebeard’s Chamber, and wonder at the old oak in the hall and dining-room, the gilt and the inlaid furniture, the rich carpets, the elctro-plate, the pictures, the handsome ornaments, the six writing tables, and the “first-class match pair of bay carriage horses (with black points)” in their stable, “well known in the district as fast good movers” – like their owner, it was jocularly said.  Mr Grosvenor Bradley had taken a new office in Manchester, where, by strict attention to business – But his arrest forbids the conjecture.  Mr Bradley’s attention to business now engages the help of a solicitor, and gives him, doubtless, a certain new anxiety.

Mr Grosvenor Bardley: Leading Figure in the Novelties Trial (The Lancashire Daily Post, 30 April 1902)

Mr Grosvenor Bradley, upon whom the curtain rang down at Manchester Assizes on Tuesday night, resided up the time of his arrest in connection with the Patent Novelties case at Ripponden, a hamlet on the border line which divides Lancashire from Yorkshire.  He has lived at Ripponden for the past five or six years, but Ripponden has none the more known anything definite about Mr Bradley.  It confesses that Mr Bradley has “done the heavy,” but there its knowledge of the gentleman ends.  Curiosity to know something more about him led certain enterprising amateurs in the Sherlock Holmes line to follow him occasionally to Manchester; but these seekers after knowledge invariably confessed that on reaching the chambers which Mr Bradley entered they found themselves baffled.  There were a lot of names at the entrance – names of occupiers of offices in the building – but Ripponden not being used to this perplexing multifariousness, confessed itself at a loss.  It reminded one, in fact, of the remark made in regard to clearances of familiar property in the metropolis – how that their chambers being dissolving views the occupants themselves became mysterious disappearances. 

Undoubtedly, Mr Bradley has remained for Ripponden the “man of mystery.”  Stress is laid upon his “aristocratic bearing” – he had a liberal hand, as the porters who are said to have almost fought with each other at Sowerby Bridge Station for the privilege of serving can testify.  It is told with awe that he once gave a porter at Victoria Station, Manchester, a half-sovereign “tip,” which the porter thought a mistake for sixpence, and dutifully drawing the donor’s attention to the fact, was reassured in quite lordly style that no error had been committed.

About a week before the Patent Novelties trial began Mr Bradley’s household furniture and other effects, to say nothing of his fine pair of bays and carriage, were sold by auction.  The amount realized from the sale is locally estimated at £1,200, and there were “high jinks” at the local hostelries while the sale was “on.”  Much is thought of what the men from Manchester who attended the sale did not say, and it is sagely observed by the wiseacres of Ripponden that these gentry knew a lot.

Of the coming and going of servants during Mr Bradley’s tenancy of Ryburn, there would seem to have been almost literally no end.  Mr Bradley does not appear to have taken anybody in the village into his confidence, and (no doubt, necessarily) least of all his servants.  Butr, as has been the role of servants from early times, some of his menials were afflicted with an undue thirst for knowledge.  As a ruke, this thirst was seldom appeased.  A rough calculation puts the number of domestics who have enjoyed a fitful stay at Ryburn at 200!  It is in the memory of the village fathers that a servant has been known to be cashiered on the very day of arrival.  But even this was not regarded as betokening a harsh disposition.  With princely liberality the dismissed one was handed a month’s salary, and sometimes even given an extra sovereign.  Dismissal under such circumstances was regarded as an exceedingly pleasant experience.  Once, it is said, there were three sent off in one day.

Whatever may have been the fate of a prophet, it is made clear enough at Ripponden that Mr Bradley was not without honour among the people with whom he had made his home.  Apart from that irritating barrier of reticence, they had no fault to find with him.  At Sowerby Bridge Station he will be much missed.  It was the custom there to keep a carriage reserved for his sole accommodation.


Of Mr Bradley’s daily life Ripponden had no exact idea.  He drove in his carriage and pair to the railway station about ten every morning, and returned about four o’clock in the afternoon; but beyond these somewhat unsatisfying details Ripponden was at a loss.  It did once say he might be “my uncle,” but only a discredited minority held for long to that view.  Against this theory was opposed the knowledge of the luxury of life at Ryburn.  Velvet pile was talked about in reference to carpets, and amazing references were made to jewelry and champagne – gossip even went so far as to enlarge on the fittings of the gymnasium, and to hint at the setting up of a “theatre” at Mr Bradley’s residence.  Through it all, however, Mr Bradley himself, to the great regret of Ripponden, kept outside the radius.


Also revealing is a speech made by Walter Bradley during the trial:

Manchester Courier and Lancashire General Advertiser - Thursday 24 April 1902

Bradley opens his Defence
At half-past five in the afternoon Bradley commenced to address the jury in his own defence.  The question at issue, he said, seemed to be chiefly one of motive, and with a view to establishing the probity of his past career he entered into a long autobiographical narrative, in which he mentioned that he was born in the county of Lancaster 55 years ago and had never up to the time of the present proceedings had any charge laid against him either public or private.  After making allusion to what he called the atrocious attack which had been made upon him, he said: “If you had looked into the said face of loved ones which were once bright and bonny, and if you had the knowledge I have of ruined [?] which have resulted from this attack made upon me I think everybody would feel as I do.” No one, he continued, could voice forth the indignation he felt at the charges brought against him, and at the misconduct of those who had used the press, the courts, and the Treasury for their own evil purposes.  Continuing his family history, Bradley described how, having been brought up without a tr[?] in any business or profession, and finding himself on the death of his father, 30 years ago, left in a responsible position as a land and mine [c?] he turned his attention to other branches of enterprise.  For a short time he was engaged as an African merchant, but the vessel in which he was interested became a wreck, and he gave that business up.  At the time he was living as a mine owner in Derbyshire he had certain business transactions with Mr J. Cunliffe, who was a mill owner residing at Chorley. Cunliffe owed him £20,000, and following the settlement of that account they became mutually interested in certain inventions and patents, including a ball game, which was being manufactured in Birmingham, London, and other places.

Fortunes Made Easily
Whilst in London some of the wholesale houses represented to him that great fortunes were being made out of monopolies of that kind, and they said that if he (Bradley) could supply the ball game with superior finish they could take them in such quantities that £10,000 a year could be made out of them.  That statement, added Bradley, might appear to those who had not studied the question to be a somewhat extravagant one, but to those who had studied the profits to be derived from these apparently small things it was not extravagant in any shape or form.  He came down to confer with the joint owner, Mr Cunliffe, and they arranged to use Mr Tomlinson’s office as a meeting place.  In 1890 Cunliffe and he arranged to form a company with a view to acquiring and dealing with the inventions and patents of which they were joint owners. To embark, Breadley explained, into an ordinary trade was to lose money from over competition and inexperience.  This consideration led him to a closer study of investments and to the conclusion that for men who had not been Educated to any other occupation undoubtedly the best opening lay in the direction of monopolies.  After making exhaustive investigations he found existing all around him a series of interesting and surprising facts. He found a vast network of liberal incomes, which were being enjoyed by the possessors of interest in monopolies, and that, in the majority of instances, these incomes were derived from small and apparently trivial inventions.

Having thus partially accounted for his connection with the company, Bradley commented in severe terms on the manner in which he had been treated by the prosecution.

Complaint Against the Prosecution

Such treatment, he said, was unworthy of the King in whose name the Crown counsel acted, and he believed the King would bow his head in shame if he knew if he knew that his advocate behaved in such a way.  Did the court think, he asked, that he should stand in the midst of them that day in all the disadvantage and inequality of the fight which had been forced upon him if he did not feel that One was with him who would justify him?  What was the cause, he asked, why he, in the name of his King and country, should be surrounded by enemies and every species of wrong done to him.  Various attacks, he continued, had been levelled against him in regard to his name.  The explanation was very simple.  His father had lived and died beloved and honoured by all who knew him.  His grandfather was a member of one of the noble families of England.  He married into the Grosvenor family, and the descendants of his issue were the Grosvenor Bradleys.  This simple fact, which did not concern anyone but the family, had been made the most malignant use of in these proceedings, Bradley added that his conduct in life had been guided largely by the dying counsel of his father, who sent for him at his bed side and said, “You may make mistakes and lose money, but do your best for all and I shall be satisfied.”  “Since then,” Bradley continued, “I have made mistakes and lost money, but one thing I have lost money, but one thing I have not lost, and that is the knowledge that I have done my best for all.”  He did not, he proceeded, claim to have made no mistakes, but if anyone accused him at any time of having acted from corrupt motives, he could with a clear conscience deny it.  Those who accused him of paltry aims or selfish inclinations were those who did not know him.

Wednesday, April 30, 2014

Lost Artists: Charles Mendelssohn Horsfall

Neglected artists are much harder to rediscover even than neglected authors. A rather unusual case is that of Charles Mendelssohn Horsfall (1862-1942), who was a successful society portrait painter for about twenty years, from the early Eighteen Nineties to the outbreak of the First World War, but went on (according to one source) to paint vast mystical abstracts.

Amongst his pictures is a pastel portrait of Field Marshal Horatio Herbert Kitchener (1850-1916) in 1899, now owned by the National Portrait Gallery in London. The artist exhibited widely, in London, Dublin, Paris and especially Berlin.


Horsfall had a British father and a German mother: the genealogy of the Mendelssohn family mentions Alexandrine Mendelssohn (1833-1900) married to a John Horsfall. He was born in Germany and grew up there, and seems to have spent more time there than anywhere else. A 1924 German art encyclopaedia (Allgemeines Lexikon der Bildenden Kunstler) lists him as "living in Germany since his youth".

Nevertheless, he was interned by Germany during the Great War in the Ruehlben prison camp, where records show that he sketched fellow prisoners, and contributed to the publications that the inmates contrived to produce. In the Scotsman newspaper of April 12th 1916, he is noted as having contributed to the Prisoners' Pie annual, printed in Ruhleben. He also contributed drawings to the Ruhleben Camp Magazine. Following the war, his work was included in a 1919 exhibition of work created at the camp, and he sold some to the Crown Princess of Sweden.

In 1923, the author and journalist Herbert Vivian published his memoirs under the pseudonym of ‘X’ (Myself Not Least, Being the Personal Memoirs of ‘X’, Henry Holt, USA: the first British edition was from Thornton Butterworth in 1925). Vivian was himself a colourful character, involved in the romantic Jacobite circles of the Eighteen Nineties, who, owing to his services to certain royal families of South Eastern Europe, had been made a Knight of the Royal Servian Order of Tokovo, and an Officer of The Royal Montenegrin Order of Danilo. Under another pseudonym, he was the author of a Shielian world-conspiracy thriller, The Master Sinner (1901).

In his memoirs, he devotes a few paragraphs to Horsfall, describing him as a “Bohemian acquaintance”, and giving an account of him immediately after his recollections of Aleister Crowley. The artist came back from the camp, he says, “under the influence of [occult] spirits”.

Horsfall, says ‘X’, believed he was under the protection of an ancient Egyptian priest, and “took to doing extraordinary whorls on huge canvasses, closing his eyes and applying his colour by inspiration...one wild confusion of circles, for instance, was a map of the New Jerusalem.” Horsfall, in short, had changed from a painter of precise studio portraits to a strange visionary. Vivian may have been right in attributing the artist’s transformation to the prison camp, but if so this must have developed mostly afterwards. For in the camp he made pencil sketch portraits that are perfectly conventional.

But after this, Charles Mendelssohn Horsfall vanishes from view. None of the work described by Vivian seems to have surfaced in any major gallery or auction. We are left with this tantalising evocation of an artist utterly changed, with work that sounds dramatically different to his earlier portraits, but seemingly undiscoverable.

Mark Valentine

Picture: Horatio Herbert Kitchener, 1st Earl Kitchener of Khartoum
by Charles Mendelssohn Horsfall; pastel, octagonal, 1899;
given by Sir Lees Knowles, 1916. Source: National Portrait Gallery.

Tuesday, April 29, 2014

WORMWOOD 22 - M R James, Ballard, Gissing, A C Benson & more


Wormwood 22 is now available and should be with subscribers by next week. We’re pleased to present 92 pages of original discussion on the literature of the fantastic, supernatural and decadent, including:

Emily Foster on M R James and the Psalms of Solomon: a source for ‘Canon Alberic’s Scrapbook’?

Doug Anderson on Phyllis Paul’s “remarkably assured” first novel; and news of a lost faery romance

Reggie Oliver on J G Ballard – “a relentlessly unusual mind” – and more

Peter Bell on seven superb tales of a Pennsylvanian antiquarian: why so overlooked?

Adam Daly on George Gissing – ‘The life you are now leading is that of the damned’

Tim Foley on A C Benson – a dark imagination worth encountering. And was he the mysterious 'B'?

Philip Ellis on beauty and tragedy in Flecker's poetry

John Howard on William Rosencrans, Adam S. Cantwell, The Secret Knowledge and more

Mark Valentine

Monday, April 28, 2014

A N L Munby on Ben Jonson's Books

The discussion about ‘Shakespeare’s Dictionary’ prompts the question of whether many books known to have been owned by eminent literary figures from the 16th and 17th century do in fact survive. The answer is provided in a fascinating paper by A.N.L. Munby, on ‘The Libraries of English Men of Letters’.

This was originally a lecture given to the Library Association on 29 October, 1964: it was collected in his Essays and Papers (1977). Munby was the author of what might very well be regarded as one of the best collection of antiquarian ghost stories written in emulation of M.R. James, The Alabaster Hand (1949). But he was also the distinguished Librarian of King’s College, Cambridge, and a devoted book-collector, bibliographer and antiquarian, with a particular interest in unexplored literary byways.

Munby’s bookish explorations around the country were assisted by a half-ownership in a 1925 Bugatti, acquired from selling two medieval manuscripts he had found. He related in another paper in his collection, ‘Book Collecting in the 1930s’ (originally published in the TLS of 11 May 1973), that “one of the gaskets, which kept on blowing, was finally found to be responsive to vellum, and a thick leaf from a water-stained and ruined Antiphonal was cut up for the purpose”. When admirers asked him the car’s age, he was able to reply, with studied nonchalance: “parts of it date back to the fifteenth century.”

In his paper on writers’ libraries, he first notes that there are no extant books known to have been owned by any English literary figure from the Middle Ages, such as Chaucer, Gower, Langland or Skelton. The earliest books relevant to his theme that he has noted do not start until the early 16th century: for example, a few survive with the signature of Nicholas Udall, the author of Ralph Roister-Doister.


But soon survivals start to become more frequent, even if these are uneven, and quite an array belonging to Shakespeare’s contemporaries can be identified. The most notable of these are the books of Ben Jonson. Munby notes that Jonson’s books “are readily identifiable since they normally bear his name upon the title-page and the motto ‘Tanquam explorator’” (approximately, “[I go] as an explorer”) . He further observes that “additional books from Jonson’s library turn up continuously.” As a keen collector himself, he then relates rather wistfully a couple of anecdotes about how he narrowly missed acquiring Jonson books himself.

The researches he cites, by Percy Simpson, had up to that point identified over 200 books with Jonson’s ownership marks in them. Munby explains that Jonson’s library was known to his contemporaries as impressive, helped by an annual gift of £20 on New Year’s Day, from his patron Lord Herbert, to buy books. Many of Jonson’s books are copiously annotated, with very characteristic marginal comments.

What sort of books did Jonson have? Munby provides an outline. As well as Greek and Latin classics, his library included “belles lettres, science, history and antiquities and, as might be expected since Jonson himself was the author of a grammar, there was quite a substantial section of books on languages.” Further, there were editions of poetry, plays, essays and courtly romances. He also owned five medieval manuscripts, one of them a magical treatise, Opus de arte magico (etc), attributed to King Solomon.

The other Shakespearian contemporaries whose books Munby's survey shows have survived in some measure include Sir John Harington, John Donne (and one of his had also once belonged to Jonson), Robert Burton and Francis Bacon, whose volumes are embossed with the armorial emblem of a boar. The probability is, of course, that there are other books that once belonged to men of letters of the time that have not yet been identified, since they do not have the clear signs of ownership adopted by Jonson or Bacon. Attributing those will always involve an element of conjecture, and sometimes the slenderest of clues.

Mark Valentine

Picture: Ben Jonson. After Abraham van Blyenberch, 1618.
©National Portrait Gallery, London.
Via www.luminarium.org.

Sunday, April 27, 2014

Patrick Carleton, Thirties Novelist

In a contribution to a mailing of the ghost story correspondence society The Everlasting Club (new members welcome), the eminent anthologist and scholar of the field Richard Dalby revealed his researches into the little-known author of a single Jamesian tale, ‘Dr Horder’s Room’. This was Patrick Carleton, whose story of the malevolent spectre of a Cambridge Master of College was published in the anthology Thrills (Philip Allan, 1935), and reprinted in Ghosts and Scholars (1987), edited by Richard with Rosemary Pardoe. As Richard noted, Carleton had also written novels for Allan, and so that must have been how he came to be included in the collection. But who was Patrick Carleton?


Richard noticed that one of Carleton’s novels was dedicated to the actor Michael Redgrave, and was able to discover more about him by consulting biographies of Redgrave. These revealed that Carleton was the slightly disguised pen-name of Patrick Railton (1907-42), known to his friends as Paddy. He is described as “a frequently heavy boozer and often wildly funny”. Richard further established that “he was invalided out of the army in 1941 and (spending his last months in a sanatorium in Ruthin, North Wales) died of tuberculosis in the summer of 1942.” As well as his novels, Carleton had written a study of ancient history, Buried Empires – The Earliest Civilisations of the Middle East (1939). As Richard noted, this had involved him in travels similar to those of Dr Horder in his story.

Doug Anderson was able to add to Richard’s work an explanation of the Carleton pseudonym, identifying that the author’s full name was Patrick Carleton Railton. He also noted that his father was Cecil Carleton Railton, who died in 1944, only two years after his son, while his mother Daisy (1879-1969) was long-lived, and renewed the copyrights on her son’s novels in the US in the 1950s and 60s.

Prompted by these revelations, I looked for Patrick Carleton’s novels. The first I tried, Desirable Young Men (1932) was very striking. The early part is about vivacious, rather precious young undergraduates at interwar Cambridge, with a distinct sense of E F Benson’s college novels, and even a tinge of the camp wit of Ronald Firbank, presumably reflecting Carleton’s own milieu. Though exuberant and witty, it might deter some readers as being a trifle too arch, but the book takes a darker turn in the final third, revealing the youthful hardships, and proud inner life, of the main dilettante figure of the earlier chapters.

Denied a Fellowship on grounds of character, he becomes a recluse in the bleak Peak District, Derbyshire, living in a village close to a thinly-disguised Buxton, and researches medieval witchcraft and paganism. This part, with its evocation of the haggard terrain, is very Machenesque - I'd be surprised if Carleton had not read him. Nothing supernatural happens, but the mood is most sinister.

His brooding scholar falls into obsession and personal neglect, though a worldly doctor befriends and seeks to ‘rescue’ him, rather as the local doctor tries to nurture Lucian Taylor in Machen’s The Hill of Dreams. But whether Machen was an influence or not, Baron Corvo evidently was: “Fr Rolfe’s Adrian VII (sic)” is evoked with approval. This second part of the book presents an interesting and abrupt change in tone, even if it makes for a slightly awkward structure. Though ultimately it doesn’t quite work, the book is exceptionally well written, bold and confident.

A second contemporary novel, The Hawk and The Tree (1934), follows a down-at-heel educated young man on a picaresque journey around England, including stints as a tramp, barman, circus hand, and in other casual jobs. It has deft and memorable portrayals of unusual minor characters he meets on the way, and gives an insight into the devil-may-care mood of subsistence England in the interwar years, again presumably based on Carleton’s own experiences.

His next, Saturday to Monday (1935), is about the intertwining lives of an impoverished but genteel young bank clerk, and an archaeologist returned from the Near East after an injury, and now director of a museum. It includes some brisk, realistic “interior monologue” in which we see into a character’s swiftly-rushing, unguarded thoughts. The technique could be trying if over-used, but Carleton keeps such passages succinct and to the point. The plot is perhaps somewhat too tentative, but once again the authorial bravado rather carries one along.

His final novel, No Stone Unturned (1939), is, on a first reading anyway, less successful: its protagonist is a young American (somewhat unsurely depicted) who has been sent to research family roots in the Peak District by a wealthy Aunt of whom he has expectations. It is notable though, especially for the period, for its sympathetic portrait of a cultured young Jewish diamond merchant.

Carleton’s remaining two novels, One Breath (1934), about a family of travelling showmen, and Under the Hog (1937), about the times of Richard III, are historical romances I have yet to read. It is clear, however, that even if none of his full length fiction is exactly fantastical, Carleton certainly ought to be better-known among aficionados of unusual literature.

Checklist of Books by Patrick Carleton


Desirable Young Men (Philip Allan, 1932)
The Hawk and The Tree; A Novel (Philip Allan, 1933)
One Breath; A Novel (Philip Allan, 1934)
Saturday to Monday: A Novel (Philip Allan, 1935)
Under the Hog; An Historical Novel (Rich and Cowan, 1937)
The Amateur Stage: A Symposium [editor] (Geoffrey Bles, 1939)
Buried Empires: the earliest civilisations of the Middle East (Arnold, 1939)
No Stone Unturned; A Comedy (Rich and Cowan, 1939)

Mark Valentine

Saturday, April 26, 2014

The Laughing King Lear


About thirty years ago or more, I spent a great deal of time “under the Dome” of the British Library, housed then in the British Museum in Great Russell Street, where I would, before entering through the black wrought iron gates, pass the quarters where Arthur Machen once lived. I was in quest of rare decadent poetry. To get books, readers went to the great green directories listing the library’s holdings, which stood like ancient holy books in niches around the room. They hefted them out, turned their vast pages, and found the elusive title they wanted. They then copied out the particulars, including the all-important shelfmark, onto a white slip of paper, which manifested these also onto several carbon copies. These requests were then placed in a receptacle at a central desk.

Some time later, which might vary from fifteen minutes to several hours, the desired book might arrive on a wooden trolley, pushed with hushed ponderousness by an official in a grey tunic. Occasionally, instead of the book, the slip itself would waft on to the reader’s desk, informing them that the volume had been “destroyed by enemy action”, or, with less drama, that it was frail and must only be viewed in the North Gallery. In this ceremonial manner, which seemed always like the solemn ritual of some arcane sect – the Sandemanians, perhaps, or the Irvingites –I was able to handle such rare relics as the verses of Count Stenbock, the phantasmagoria of John Barlas, the chiaroscuro poems of Arthur A Piggot, or the pierrot plays of Eric Lyall. And provided that one could show the work was out of copyright, it was also possible to order photocopies of at least some of the pages in these delicate volumes. The copies would be posted to you, arriving perhaps a fortnight or so later.

This service was usually provided with considerable efficiency. But on one occasion, I received from the British Library an envelope which proved to contain a mystery: a copy I had not ordered. It had no doubt been mixed up with another reader’s request: they were perhaps puzzling at around the same time over the swooning effulgences that I must have been expecting. What I got instead was the final scene of King Lear.

I thought this was odd. Why would anyone need to order a copy of that, when the plays of Shakespeare may easily be found in countless editions? However, keen readers can rarely stop themselves from perusing any reading matter whatever, that happens to stop in front of them (I am myself an inveterate reader of notices). So I had a look at what I had mistakenly been sent. And then I was still more mystified. It all seemed rather amiable. The King, Gloucester and Kent exchanged cheery compliments and were apparently all set to wander off into the sunset together, arm in arm. I was not then as well-versed in Shakespeare as I might be, but I had formed the hazy impression that King Lear was a tragedy. Yet this didn’t seem all that melancholy.

What I had been sent, of course, was the finale of the “happy” version of the play composed by Nahum Tate in an adaptation of 1681 that rather bravely mingles his lines with Shakespeare’s. With a mind full of Machen’s theory of improbable coincidences, as evinced most notably in The Three Impostors, I naturally supposed that receiving this unexpected document must have some secret significance. Perhaps, I reflected, it was not after all just a mix-up. Maybe there was a furtive Tate admirer embedded among the staff of the great Library, who made it his business to send tantalising glimpses of the happy Lear to random readers. If so, they had found their mark. I am sorry to say that the sentimentalist in me found it rather touching. And there are worse watchwords for life than Lear’s last line.

Glost.

Now, gentle Gods, give Gloster his Discharge.

Lear.
No, Gloster, Thou hast Business yet for Life;
Thou, Kent and I, retir'd to some cool Cell
Will gently pass our short reserves of Time
In calm Reflections on our Fortunes past,
Cheer'd with relation of the prosperous Reign
Of this celestial Pair; Thus our Remains
Shall in an even Course of Thought be past,
Enjoy the present Hour, nor fear the Last.

Edg.

Our drooping Country now erects her Head,
Peace spreads her balmy Wings, and Plenty Blooms.
Divine Cordelia, all the Gods can witness
How much thy Love to Empire I prefer!
Thy bright Example shall convince the World
(Whatever Storms of Fortune are decreed)
That Truth and Vertue shall at last succeed.

(from the online text edited by Jack Lynch of Rutgers University, Newark, with thanks)

Mark Valentine

Thursday, April 24, 2014

The Shadow of Enoch Soames

In 1916, Max Beerbohm published an account of his lunch in a Soho café on 3 June 1897 with the neglected decadent poet Enoch Soames, the author of Fungoids and Negations. His companion repined about the neglect of his work and wondered if he would ever be appreciated. A fellow diner, overhearing this, offered to let him travel in time to consult the catalogues of the British Library exactly one hundred years later. Soames accepted the pact, and met Beerbohm later to tell him what he found. Dolefully, the poet reported that the only reference he could find suggested he was merely a fictional character in a Beerbohm story.

The stranger seems to have selected the date he offered Soames rather maliciously. Had the woebegone writer asked to be wafted a few years further on, he would have been highly gratified. For, since that melancholy episode in 1997, attention to Soames’ work has grown considerably. In 1999, A Bibliography of Enoch Soames (1862-1897) was compiled by Mark Samuels Lasner, and in 2001, Enoch Soames – The Critical Heritage was published by the distinguished booksellers Maggs Brothers. There are even signs of an Enoch Soames Society.


However, a curious episode relating to Enoch Soames has continued to receive too little attention. The story is told in The Devil in Woodford Wells, A Fantastic Novel (1946) by Harold Hobson. We need not be misled by the book’s sub-title, for the author tells us in the second sentence of the book that his story is a true one. Doubtless it was described as a fantasy due to some wartime exigency when it was composed. Mr Hobson is on record as confirming that Max Beerbohm himself approved this further account relating to his Nineties friend.

The author begins by telling us that he is an ardent enthusiast of Beerbohm, and has lectured on him several times: he is just about to deliver a further radio talk about him. And then he relates an encounter on Thursday 5th June, 1941 at the British Museum Reading Room. This was closed to most readers because of the war: but anyone who had work of national importance could still be admitted to a special wartime reading room. As a journalist writing for American newspapers, our narrator qualified. However, on this day he arrived there just at the moment when another man, who gave his name as Soames, was being turned away. The rebuffed figure wore a hat, “slightly raffish, a hat that suggested a harmonious blending of Irving and a rural dean”. He also had a muffler.

Hobson encounters this Soames again shortly afterwards, and makes his acquaintance. They visit a bookshop, and go back to the narrator’s home, in Woodford Wells, where the poet is invited to dine with him, is introduced to his wife and daughter, and regales them with a story he has written.

After this, matters become both murkier and more fantastical, until we understand at the end precisely why this new episode in the biography of the fated decadent versifier must remain in a literary limbo. If the account has not quite all the elan and dark fin-de-siecle glamour of Mr Beerbohm’s original composition, nonetheless it is an affectionate homage.

The author, Sir Harold Hobson (1904-1992) was a miner’s son from South Yorkshire educated at home by his parents owing to childhood polio, a condition that he did not allow to limit his later life. A voracious reader, he earned a scholarship to Oxford, and afterwards began writing theatre reviews, leading to his appointment as drama critic for The Times in 1947. He was a champion in particular of avant-garde theatre.

The Devil in Woodford Wells would seem to have been written as a light diversion. Kate O’Brien, in a review in The Spectator, praised the book’s “agreeable and cultivated writing” and said it conveyed its “easy-going pleasure most infectiously”. It is also one of that select number of works to involve cricket and the fantastic: E R Eddison’s A Fish Dinner in Memison (1941), Frank Baker’s Embers, A Winter Tale (1947) and L P Hartley’s The Go-Between (1953) are also club members. This delightful memoir, with a tinge of Chesterton and even of Buchan, as well as Beerbohm, certainly ought to attract new readers.

Mark Valentine


Picture: Enoch Soames by William Rothenstein