Václav Havel as diarist

Václav Havel, the Czech political dissident and human rights activist who became the last president of Czechoslovakia and the first president of the Czech Republic, would have been 90 today. He was also a playwright of some distinction, and, as a young man, used his plays to criticise the Communist regime. A few years before his death, he published a memoir which included a diary he kept during 2005; and in 2016 the Václav Havel Library published a previously unknown diary Havel had kept while in prison during 1977.

Havel was born in Prague on 5 October 1936 into an intellectual and wealthy family, though much of the family’s property was confiscated after the Communist takeover in 1948. Disallowed from studying humanities because of his bourgeois background, he worked as a lab technician before enrolling in the economics faculty at the Czech Technical University, though he dropped out after two years. Following military service in the late 1950s, he found work in the theatre and soon began writing plays, such as The Garden Party (Zahradní slavnost) and The Memo (Vyrozumění). At the same time, he became increasingly involved in literary and political life. In 1964, he married Olga Šplíchalová.

By the mid-1960s, Havel had become one of the leading figures at Prague’s Theatre on the Balustrade. He made a brief trip to the US for a production of The Memo in New York, which helped establish his international reputation. Back home, he was a prominent supporter of the liberal reforms of 1968, known as the Prague Spring. But following the Soviet-led Warsaw Pact invasion in August, Havel’s plays were banned and his passport confiscated. He moved to live in the countryside, where he maintained his political activities, largely on behalf of human rights, and continued writing plays. He was a co-founder of Charter 77, and in 1978 wrote one of his best-known essays, The Power of the Powerless, which explored how individuals and civil society could resist a totalitarian system. It was secretly but widely circulated in Czechoslovakia and other Warsaw Pact countries. He was repeatedly arrested in the 1970s and 1980s, serving several years in prison, but resisted pressure to emigrate.

In late 1989, Havel, by then a leading figure in Civic Forum, emerged as one of the leaders of the Velvet Revolution. By unanimous vote of the Federal Assembly in December, he was elected President; and following the first free national elections for over 40 years in June 1990, in which Civic Forum and its Slovak counterpart Public Against Violence emerged victorious, the Federal Assembly re-elected him as president. He stepped down in 1992 as Czechoslovakia moved towards break-up, but was elected first president of the independent Czech Republic in early 1993. His wife died in 1996, and the same year he was diagnosed with lung cancer and underwent major surgery. He was re-elected president in 1998, though by this time, with most power vested in the prime minister’s office rather than the presidency, and amid various domestic controversies, he was more popular abroad than at home. He stepped down in 2003, having by then married the actress Dagmar Veškrnová.

Havel returned more fully to writing, producing a new play in 2008, which was enthusiastically received, and publishing a memoir of his time as president. Paul Wilson translated the latter, which was published in English, also in 2008, by Portobello Books under the title To the Castle and Back. Havel died in 2011, having received, from the early 1990s onwards, many state honours and international awards. Further information is available online from Wikipedia and many obituaries, for example the BBC, The Guardian and The New York Times.

Although Havel was not a committed diarist, or so it seems, he did keep a diary at different times in his life. In 2016, the Václav Havel Library published in facsimile a previously unknown diary he had kept in 1977 while in investigative custody following the launch of Charter 77. Entitled Zápisky obviněného (Notes of the Accused), it consists of fragmentary and often abbreviated entries made in an ordinary appointment diary between January and July 1977. Havel himself had apparently never mentioned its existence. It was discovered decades later among the papers of his friend and adviser Zdeněk Urbánek, when Urbánek’s grandson, David Dušek, was sorting through his grandfather’s estate. The facsimile was published with explanatory essays by Dušek, Anna Freimanová, Martin Palouš, Paul Wilson and Michael Žantovský.

Havel also kept a diary during 2005 while working on his memoir, To the Castle and Back. The book is made up of three elements: substantial extracts from dated memos to his staff during his time in office as president, answers to a series of interview questions, and sometimes lengthy extracts from his 2005 diary - see below for two such extracts. The book can also be previewed online at Amazon and Google Books.

29 April 2005
‘I have been to two more “political dinners” at Madeleine’s; many important people were there, such as the former secretary of defense William Cohen; the director of PBS, Mrs. Pat Mitchell; Senator Barbara Mikulski; the Democratic leader in the House of Representatives, Mrs. Nancy Pelosi; the deputy secretary of state, Mr. Nicholas Bums; and many others. Many of them I had met on earlier occasions, others I had once been introduced to, but I had forgotten those earlier encounters. Madeleine, once again, moderated the discussion wonderfully; it was lively and spontaneous and exhausting, naturally. I had the constant feeling that I was speaking of things about which these people knew more than I did, and moreover I was doing so in a language I don’t know very well. Now that it’s over I’m glad I did it, and I’m grateful to Madeleine.

It’s paradoxical: every evening I meet with the most important people here, and then, during the day, I run afoul of banal American red tape. Yesterday, for example, we had to return our rental car and then turn right around and rent it again, even though we’d already paid for another month. I understand the thing itself - it’s an accounting matter. What I don’t understand is why the transaction consumed almost an entire, valuable American day. Standing at the window where all this took place, and where more and more complications kept surfacing, I found it hard not to lose my temper. My Czech pistoleer often uses a trick I don’t much like: he reveals who I am - if I’m not recognized, that is. But in this democratic country, favoritism is out of favor, and so the results are always the same: great delight that they’ve met me, great astonishment that I, of all people, have turned up here, of all places - and then an immediate return to the original situation. It doesn’t speed things up by even a minute. That was yesterday. I barely had time to change for dinner at Madeleine’s.

But that wasn’t the end of it; two unpleasant things happened this morning. The first was something I knew was bound to happen, that is, our Barnabas, Mr. Edler, was nowhere to be found, and so they wouldn’t let us into our parking spot. (Later the director of the Kluge Center had to sort things out himself at the entrance.) And the second thing was something I could not have known would happen, and which says something about the state of my memory. At the entrance to the library, where they put my bag through a scanner, they discovered a metal kitchen knife in it, which is not allowed. I expressed surprise and denied it, of course, because I’d completely forgotten that I’d put the knife in my bag that morning so I could spread jam on my roll. They searched the bag and I was caught red-handed. There was nothing to do but hope I wouldn’t be arrested, then go outside and toss the knife in the garbage. (Fortunately it was not made of silver.) I felt very silly.

I often can’t understand Americans when they speak, especially black Americans, and this is the source of many other embarrassing moments. Yesterday, for example, a young black man who was with me in the elevator told me how much he admired me and asked me for my autograph. Then he mumbled something I didn’t catch, though it was evidently a question. For the sake of simplicity, I replied, “Yes.” As soon as I’d spoken, I realized that he was asking me if I had written The Unbearable Lightness of Being. I couldn’t very well change my answer, and there was no escaping, so I had to remain in a state of embarrassment until the moment of liberation when our elevator arrived at the right floor. A truly Kunderian situation.’

28 November 2005
‘For the whole of September and October I never stopped. Yet what did I actually do? I visited several European countries, had a lot of meetings and visits and discussions, and made countless speeches - and all at a time of year when I’m usually under the weather. I’m quite surprised that I survived it all without any damage to my health. I’m at Hradecek once more, but there’s a lot of snow here now and the trees are beautifully cloaked in white. I’m really like a hermit here. (Hradecek is off by itself and my only neighbor is my friend Andrej Krob, who has a cottage nearby, but he’s not there now.) Yesterday I watched a thriller on television and then I realized that for the first time in my life I felt afraid here. The very thought that I might suddenly glimpse the movement of a human shadow gave me goose bumps and heart palpitations. I stopped getting the newspapers a while ago, and my news comes from television. I read the papers only when I happen across one. The last time that happened was several days ago on the plane from Budapest, when I discovered I was the subject of a scandal. The Czech media are up in arms because I have apparently supported our new prime minister. The whole thing obviously started a while ago, when he invited me for coffee, and as we were leaving we were waylaid by a journalist who asked me how I’d have gotten along with the current prime minister if I were still president. I said I thought we’d hit it off. By that I meant that I would not have been having constant public squabbles with the prime minister over how to interpret the constitution, as our current president does. I should have expressed myself more precisely or concretely, but still, why there should have been a controversy or even a scandal over this, I have no idea. But obviously I can’t understand everything.’

This article is a revised version of one first published on 5 October 2016.

V happy with E

‘Oh E, how can I live separated from you? What have I done to us? If I stopped caring, I should never care for anything. If I stopped fearing this, I should fear nothing again.’ This is Charles Ritchie, a Canadian diplomat born 120 years ago today, writing in his diary - which he often did - of his love for the British writer Elizabeth Bowen. They lived very separate lives, often in different countries, and were both married, yet their passionate love for each other - documented in his diary and her letters - survived more than 30 years, indeed until Bowen’s death.

Ritchie was born in Halifax, Nova Scotia, on 23 September 1906. His father, a lawyer and 25 years older than his mother, died when he was 10. He was educated at a series of schools, at least one in England, before moving on to spend a considerable amount of time at universities in Halifax, Oxford and Harvard. While still a teenager, he had received an unexpected letter from Sir Robert Borden, then Canada’s Prime Minister and his father’s former friend. In the letter, Borden explained that he was hoping to set up a Canadian foreign service, and he suggested that Ritchie might like to consider working there. Thus, in mid-1934, Ritchie joined the Department of External Affairs. His first posting abroad came in 1936, to Washington, and then in early 1939 he was transferred to London.

According to Ritchie (in The Siren Years - see below), wartime London was a forcing ground for love and friendship, and so it proved for himself. In 1941, he met and fell in love with the writer Elizabeth Bowen. She had been married for 18 years, and was seven years older than Ritchie who had never been married. Their relationship would last more than 30 years, for the rest of Bowen’s life, surviving the death of Bowen’s husband and Ritchie’s own marriage (to Sylvia Smellie), though they would never spend more than a week or so together at any one time. After the war, in the mid-1950s, Ritchie was promoted to ambassador in West Germany.

Subsequently, Ritchie served as Canada’s Permanent Representative to the United Nations (1958-1962), as ambassador in Washington (1962-1966), and as High Commissioner in London (1967-1971). On retiring he returned to Ottawa though he continued as a special adviser to the Privy Council. He also began editing his diaries for publication. He died in 1995. See Wikipedia, Bout de Papier, The Independent’s obituary, or this Robert Fulford article for more information.

The first collection of diary extracts Ritchie put together was published by Macmillan (as were all his diaries) in 1974 under the title The Siren Years: A Canadian Diplomat Abroad, 1937-1945 (later issued as Undiplomatic Diaries.) See Googlebooks for a preview and The Captive Reader for a review and extracts. An Appetite for Life: The Education of a Young Diarist, 1924-1927 followed in 1977 (see Googlebooks for a preview), as did Diplomatic Passport: More Undiplomatic Diaries, 1946-1962 in 1981, and Storm Signals: More Undiplomatic Diaries 1962-1971 in 1983. A compendium of the undiplomatic diaries was brought out in 2008 by McClelland & Stewart - see Amazon. Also in 2008, Simon & Schuster published Love’s Civil War: Elizabeth Bowen and Charles Ritchie, Letters and Diaries, 1941-1973, as edited by Victoria Glendinning with Judith Robertson. See The Guardian for an article by Glendinning on her book.

In his foreword to The Siren Years, Ritchie explains how he came to be a diarist: ‘It was with adolescence that the diary addiction fixed its yoke on me - a yoke which in the succeeding fifty years I have never been able entirely to shake off, although there have been merciful intervals of abstinence. The habit had begun even earlier - had sprouted furtively when I was a schoolboy. Its seed was perhaps already sown when I would write on the front of school books, Charles Stewart Almon Ritchie, King’s Collegiate School, Windsor, Nova Scotia, Canada, North America, The World, The Universe, September 23rd, 1918, 3:17 p.m. - an early compulsion to fix myself in space and in time. Once given over to this mania there was no cure for it. With obstinate obsessiveness I continued to scribble away. Now the toppling piles of my old diaries are mountains of evidence against me, but I still postpone the moment to destroy them. Their writing and subsequent concealment were intentionally secretive - to have them discovered and read would have meant to be caught in the practice of “solitary vice.” ’

The following extracts from Ritchie’s diaries are all taken from Love’s Civil War except the first, which comes from The Siren Years.

28 September 1938.
‘We are now on the very edge of war. Already my feelings have changed since I last wrote. Perhaps I am already beginning to suffer from war blindness. I feel more and more part of my generation and my country and less an individual.

The war offers us no ideal worth dying for - we make no sacrifice for a noble cause. We fight with no faith in the future. It is too late to pretend (though we shall pretend) that we are defending the sanctity of international obligations or the freedom of individuals. We are fighting because we cannot go on any longer paying blackmail to a gangster. Whoever wins, we who belong to what we call “twentieth century civilization” are beaten before we start. We have had our chance since 1918 to make a more reasonable and safer world. Now we have to go and take our punishment for having missed that chance. We have willed the ends but we have not willed the means to attain those ends. That must be our epitaph.

Here in America it is “business as usual.” Tonight I have been listening to the radio for hours. It reflects the stream of normal American existence, the advertising, the baseball games, the swing music, but every few moments this stream is interrupted by a press bulletin from Europe. More mobilizations. Hitler may march before morning. These warnings from another world give Americans shivers down their spine, make them draw the curtains closer and huddle around their own fireside thanking God that they are safe from the storm outside.’

18 October 1941
‘My bed smells of her over-sweet violet scent. It is queer that she uses such an obvious scent - the perfume that goes with blondes and floating veils and sentiment . . .

I am reading The Death of the Heart in her special edition. It is an exact description of her house and of her husband. The position of the sofa in the drawing-room, the electric fire in his ‘study’ are all described exactly as they are. What is alarming is the husband is an unsparing portrait of A. I read this novel with most curious feelings as ‘a work of the imagination’; it has been destroyed for me by my knowledge of the particular circumstances. . . . She took that from here, she copied that turn of speech, that must be so-and-so, these thoughts go through my mind as I am reading. It is like eating an elaborate dish after seeing the materials of which it is made up lying about in the kitchen, or being so near the ballet that you can see the make-up.’

20 February 1947
‘V happy with E. We have spent the weekend huddled over the weak radiator and the whiskey bottle or on the enormous ‘made for love’ bed. It’s like life on board ship, we sally out on the windswept deck-like boulevards for a ‘blow’ and are glad to be back in this cabin-like flat - which more than anything else is like a suite on a luxury liner.’

16 October 1949 [Hotel de la Paix, Geneva]
‘To understand one’s own destiny, to have some framework in which to see this floating shifting mass of experience, to chart these currents, these shocks and depths and dangerous rocks, not to die without knowledge. Oh E, how can I live separated from you? What have I done to us? If I stopped caring, I should never care for anything. If I stopped fearing this, I should fear nothing again. . . In a dim way I like this feeling of being alone and taking up this monologue. I miss my wife. I want her. I am waiting for her. Yet this time of recuperation is quietly, sadly pleasant.’

9 February 1952
‘I think that part of my reaction of boredom and distaste for Spender’s book comes from being reminded by it of countless pages of similar self-absorption in my own diaries. When I first knew E, I was surprised and rather disconcerted by her lack of concern with her own ‘interesting personality’. I found it difficult to accept when she, the leading psychological novelist of the day, told me that she was not interested in people and their motives and characters. I now understand what she meant. The exercise no longer amuses me. In fact it is only from obstinacy that I write this private diary at all.’

18 August 1952
‘With me love for a woman is always linked with a need to betray that love; a compulsion which I dread and desire. But there are times when that interminable dialogue of marriage seems interminable. It gives one a feeling of pure pain to think that it must go on and on and on. I am pretty sure that I should feel that whoever I had married.’

17 June 1956
‘Sad, lonely, undemanding letter from E. The truth is that I am anaesthetized to this existence, even quite enjoy it. Someone said I look ten years younger. I am all right if I keep going - much more cheerful than this diary shows.’

11 March 1957
‘I cannot describe the state I was in yesterday (can it have been only yesterday?) when I flew back from Ireland - the hallucinatory depression, the complete undermining of all confidence, the corroding guilt and sorrow. I never expected to feel all this again. E says that it is a ‘natural’ consequence of our parting, but it went much deeper than that. . . She says she can’t bear to think of me sealed away from life. I can’t bear to think of that myself, and it is true; but if that last day is life, can I bear it? She says she feels it is some deficiency in her love which drove me to it, but isn’t it some deficiency in me? No, this strain was too great. I cannot forgive myself for my impatience, my unlovingness, my dry irritability, my inability to accept. Yet I can entirely forgive myself. I understand and must never forget that all my cut and dried plans are the amusement of a bored man and bear no relation to reality. No, it was heart-breaking. How can I bear the memory of that last morning at the Shelbourne. How can I ever forget it. Surely I can’t go on as I did before, yet I feel that is just what I will do; that the scales will form over my eyes, that merciful banality will set me off from life in my Cologne Nursing Home. Oh Elizabeth!’

The Diary Junction

A fool’s paradise of poetry

‘Heavens! what fortitude one needs, to become a decent writer. One runs madly through green thickets, enamoured of the bird-notes which last but a few moments; one stumbles, picks oneself up, and emerges into a barren waste; one ruminates miserably for a while, dragging desolate feet through the dust of dead dreams. And then, if one is lucky, one plunges into another fool’s paradise of “poetry”.’ This is Siegfried Sassoon, an English poet born 140 years ago today, writing lyrically about the difficulties of composing poetry. Although a brave and decorated First World War soldier, he is best remembered for his war poetry and autobiographical prose, while his extensive diaries provide an unusually immediate record of his life and wartime experiences.

Sassoon was born at Weirleigh, near Matfield in Kent, on 8 September 1886, and educated at Marlborough College and Clare College, Cambridge. He was the second of three sons born to Alfred Ezra Sassoon, a member of a wealthy Jewish merchant family, and Theresa Thornycroft, an Anglo-Catholic. Alfred had been disinherited by his family for marrying Theresa. After leaving Cambridge without a degree, Sassoon spent nearly a decade doing very little other than hunting, socialising and writing occasional verse. On the outbreak of war, he enlisted as a cavalry trooper in the Sussex Yeomanry, but injured his arm in a riding accident in October 1914. After recovering, he was commissioned as a second lieutenant in the 3rd Battalion (Special Reserve), Royal Welch Fusiliers, and was posted to the Western Front. He was considered a reckless soldier, but was awarded the Military Cross for rescuing a wounded lance-corporal under heavy fire in May 1916.

Significantly, while in France, Sassoon met Robert Graves. They encouraged each other’s love of poetry, and Graves’s grittier style is known to have influenced Sassoon. In April 1917, Sassoon was wounded and returned to England. By then, he had grown hostile to the continuation of the war and his poetry increasingly reflected the realities of life in the trenches. The Old Huntsman, containing a substantial group of war poems, appeared in 1917, followed by Counter-Attack and Other Poems in 1918. On 15 June 1917, Sassoon completed A Soldier’s Declaration, condemning what he believed was the deliberate prolongation of the conflict. After he refused to return to duty, the statement was published in The Times and read in Parliament on 31 July. Some called for Sassoon to be court-martialled, but the Army instead sent him before a medical board, which declared him unfit for service and referred him to Craiglockhart War Hospital near Edinburgh. There he met the psychiatrist W. H. R. Rivers and the poet Wilfred Owen.

Sassoon subsequently returned to active service, first in Palestine and then in France, where in June 1918 he was accidentally shot in the head by a British sentry. After the war, he lived briefly in Oxford, but then settled in Tufton Street, Westminster, in 1919. He became literary editor of the Daily Herald, a role that brought him into contact with many literary names of the day, and became something of a literary celebrity himself. He spent the best part of two decades writing autobiographical or semi-autobiographical books, such as Memoirs of an Infantry Officer and Siegfried’s Journey. He married Hester Gatty in 1933, and they had one son before the marriage broke down and the couple separated in 1945. Sassoon lived the last years of his life in relative seclusion at Heytesbury in Wiltshire, converting to Catholicism in 1957. He died of stomach cancer on 1 September 1967, aged 80. Further information is available from Wikipedia, Poetry Foundation or Encyclopaedia Britannica.

Cambridge University Library holds what it describes as ‘the world’s richest assemblage of Sassoon’s manuscripts and archival papers’, including a run of diaries stretching from 1905 to 1959. The Cambridge Digital Library has made available images of 23 of Sassoon’s journals, focusing on the war years but covering 1915-1927 and 1931-1932. It describes Sassoon as a ‘gifted diarist’ and the journals as ‘a fascinating resource’ of First World War literature. However, the library does not provide complete transcriptions of the diary pages.

‘Unlike edited printed transcriptions,’ it says, ‘the digitisations allow the viewer to form a thorough sense of the nature of the physical documents. Sassoon wrote in a small but neat and legible hand, frequently using the notebooks from both ends. His war journals were used for a wide variety of purposes: in addition to making diary entries Sassoon drafted poetry, made pencil or ink sketches, listed members of his battalion and their fates, made notes on military briefings and diagrams of trenches, listed locations and dates of times spent at or near the Front, noted quotations, and transcribed letters. The wartime notebooks were small enough to have been carried by Sassoon in the pocket of his Army tunic, and many had enclosures such as letters tucked into the outer cover or inner pouches; some bear tangible evidence of use in the trenches, from the mud on notebook MS Add.9852/1/7 to the candlewax spilled on MS Add.9852/1/9, presumably as Sassoon sat writing in his dug-out by candlelight.’

Printed transcriptions are available in three volumes edited by Rupert Hart-Davis and published by Faber and Faber between 1981 and 1985: Diaries 1915-1918, Diaries 1920-1922 and Diaries 1923-1925 (all of which can be digitally borrowed from Internet Archive). Here are several extracts from the last of these. Hart-Davis notes, however, that most of the text of Diaries 1923-1925 was taken from ‘fair copies’ Sassoon himself made of the original diaries in 1931 and 1932. It is assumed, he says, that the originals were discarded.

This article is a revised version of one first published on 8 September 2016.

A sensitive and nervous man

Bret Harte, an American writer best remembered for his prose, particularly short stories about the Californian gold rush, and satirical poetry, was born 190 years ago today. He kept a diary for a few short months when a young man, but biographers tend to find more useful the diary of Annie Fields, wife of The Atlantic Monthly editor James T. Fields. She described Harte as a sensitive and nervous man.

Harte was born on 25 August 1836 in Albany, New York, into a family, originally Jewish immigrants. He seems to have left school at 13, and moved to California a few years later, where he worked in a variety of jobs. Having tried to make a living in the gold mining towns, he became a messenger for the Wells Fargo stagecoach company, guarding treasure boxes, before trying his hand as a teacher first then as a journalist. While working for the Northern Californian, he condemned the 1860 massacre of Wiyot people at Tuluwat; threats against him may have contributed to his decision to leave the area for San Francisco.”

In 1860, Harte began working for The Golden Era and contributed to its increasingly literary character; and in 1862 he married Anna Griswold. By this time, he was publishing poetry, romantic short stories about the Californian Gold Rush, as well as satirical prose. Some of his work was taken up by The Atlantic Monthly, edited by James Thomas Fields. In 1868, he became editor of the new literary magazine, Overland Monthly, which, two years later, published his poem Plain Language from Truthful James or, as it was better known, The Heathen Chinee. This narrative poem, satirising anti-Chinese sentiment, was widely republished, bringing Harte considerable fame. In search of furthering his literary career he moved to New York, and then Boston, and became contracted, at a high salary, to The Atlantic Monthly. His popularity did not last long, and by the end of 1872 the contract was over, and selling stories was becoming increasingly difficult.

Life remained tough for Harte until, in 1878, he went alone to Germany to take a position as US commercial agent in Krefeld, and then, in 1880, as US consul in Glasgow, UK. Though he wrote to his family (Anna and four children) and continued to support them, he never returned to the US (nor did they visit him in Europe). In 1885, he moved to London, where he continued to pursue his literary ambitions. He died in 1902. Further information is available from Wikipedia, Poem Hunter, or Encyclopaedia Britannica.

Harte kept a diary for a few months in 1857-1858. Bret Harte (American Book Company, 1941) by Joseph B. Harrison quotes from it but once. Gary Scharnhorst, in Bret Harte: Opening the American Literary West (University of Oklahoma Press, 2000), provides an extract from 31 December 1857: ‘Before I close this Journal containing but a small portion of last years doings let me indulge in a retrospect. I am at the commencement of this year - a teacher at a Salary of $25 per mo - last year at this time I was unemployed. Last year I thought I was in love - this year I think the same tho the object is a different one. ... I have added to my slight stock of experiences and have suffered considerable. Ah! well did the cynical Walpole say life is a comedy to those who think - a tragedy to those who feel. - I both think and feel. My life is a mixture of broad caricature and farce when I think of others, it is a melodrama when I feel for myself. In these 365 days I have again put forth a feeble essay toward fame and perhaps fortune. - I have tried literature albeit in an humble way - successfully - I have written some poetry: passable and some prose (good) which have been published. . . . Therefore I consecrate this year or as much as God may grant for my service - to honest heartfelt sincere labor and devotion to this occupation. - God help me - may I succeed.’

Axel Nissen, in his biography, Bret Harte: Prince and Pauper (University Press of Mississippi, 2000), refers to Harte’s diary more often but notes that he made his last entry on 5 March 1858. Here are two paragraphs of Nissen’s text, largely sourced on Harte’s diary.

‘Each day he would conscientiously record the day’s lessons in his diary, in addition to his own quotidian activities. One day was much like the other: school in the morning Monday through Saturday, a trip to town in the afternoon or a shooting expedition, alone or with one of the boys. During the five months Harte kept the diary, he painstakingly recorded every duck, meadowlark, teal, widgeon, and ring-necked and buttheaded plover he brought down. It was almost an obsession. Rain or shine, sick or well, he tramped out to the marshes with his gun after school, sometimes also in the morning before breakfast. On December 10, for example, he recorded that he shot a duck (“but couldn’t get him”), a teal, and a snipe, and remarked with evident satisfaction: “I am improving in my skill, and of late have made good success [one word illegible] shooting. However I must try to persevere in other things.” His hunting expeditions were an escape from the claustrophobia of living among strangers and gave him time to think. He got himself a dog. Bones, to keep him company. The diary gives us an impression of a sober, serious-minded, industrious, and critical young man - early to bed and early to rise - thoughtful and a mite restless in his country isolation.’

‘But there was also a darker side to his existence. The diary gives ample evidence of depression and even despair. Only a few days after moving in with the Liscombs, he came home from Sunday service “very blue and discontented.” A month later, on Thanksgiving, there was a dancing party in town. Everyone was there; Harte tried to dance, found he couldn’t, and was ‘‘very much annoyed.” He came home “incontinently” in the pouring rain and spent a restless night. Christmas Day was even worse. He helped Maggie prepare the meal, and they had Christmas dinner with the Martins and her in-laws. He was feeling quite melancholy by this point, and attendance at a dance in the evening only made it worse. ‘‘What the d....d am I to do with myself,” he scratched down desperately in his diary, ‘‘the simplest pleasures fail to please me - my melancholy and gloomy foreboding stick to me closer than a brother. I cannot enjoy myself rationally like others but am forced to make a gloomy spectacle of myself to gods and men.” The “thermometer of my spirits,” as he analyzed it that day, had started at 40 degrees temperate in the morning, risen to eighty by 3 P.M., fallen all the way down to zero by 9 P.M., and by 1 A.M., he was still awake and twenty below.’

Harte’s biographers have also drawn on the published diary of the wife of the editor of The Atlantic Monthly: Annie Fields - Memories of a hostess: A chronicle of eminent friendships, drawn chiefly from the diaries of Mrs. James T. Fields by M. A. DeWolfe Howe (The Atlantic Monthly Press, 1922). Here are several extracts about Harte.

5 September 1871
‘J. went to Boston. I wrote in the pastures and walked all the morning. Coming home, after dinner, came a telegram for me to meet J. and Bret Harte at Beverly station with the pony carriage. I drove hard to catch the train, but arrived in season, glad to take up the two good boys and show them Beverly shore. [. . .] Mr. Harte had much to say of the beautiful flowers of California, roses being in bloom about his own house there every month in the year. He found the cloudless skies and continued drought of California very hard to bear. For the first time in my life I considered how terrible perpetual cloudlessness would be! He thinks there is no beauty in the mountains of California, hard, bare, snowless peaks. Neither are there trees, nor any green grass.

He is delighted with the fragrant lawns of Newport and has, I believe, put into verse a delightful ghost story which he told us. He has taken a house of some antiquity in Newport, connected with which is the story of a lady who formerly lived there and who was very fond of the odor of mignonette. The flower was always growing in her house, and after her death, at two o’clock every night, a strong odor has always been perceived passing through the house as if wafted along by the garments of a woman. One night at the appointed hour, but entirely unconnected in his thought with the story Mr. Harte had long ago heard, he was arrested in his work by a strong perfume of mignonette which appeared to sweep by him. He looked about, thinking his wife might have placed a vase of flowers in the room, but finding nothing he began to follow the odor, which seemed to flit before him. Then he recalled, for the first time, the story he had heard. He opened the door; the odor was in the hall; he opened the room where the lady died, but there was no odor there; until returning, after making a circuit of the house, he found a faint perfume as if she had passed but not stayed there also. At last, somewhat oppressed perhaps by the ghostliness of the place and hour, he went out and stood upon the porch. There his dream vanished. The sweet lawn and tree flowers were emitting an odor, as is common at the hour when dews congeal, more sweet than at any other time of day or night, and the air was redolent of sweets which might easily be construed into mignonette. The story was well told and I shall be glad to see his poem. [. . .]

Mr. Harte is a very sensitive and nervous man. He struggles against himself all the time. He sat on the piazza with J. and talked till a late hour. This morning at breakfast I found him most interesting. He talked of his early and best-loved books. It appears that at the age of nine he was a lover and reader of Montaigne. Certain writers, he says, seem to him to stand out as friends and brothers side by side in literature. Now Horace and Montaigne are so associated in his mind. Mr. Emerson, he thinks, never in the least approaches a comprehension of the character of the man. With an admiration for his great sayings, he has never guessed at the subtle springs from which they come. The pleasant acceding to both sides in politics, and other traits of like nature, gives him affinity with Hawthorne. By the way, he is a true appreciator of Hawthorne. He was moved to much merriment yesterday by remembering a passage in the notes, where he slyly remarks, “Margaret Fuller’s cows hooked the other cows.” Speaking of Dr. Bartol, he said, “What a dear old man he is! A venerable baby, nothing more.” But Harte is most kindly and tender. His wife has been very ill and has given him cause for terrible anxiety. This accounts for much left undone, but he is an oblivious man oftentimes to his surroundings - leaves things behind!!’

12 January 1872
‘Bret Harte was here at breakfast. It is curious to see his feeling with regard to society. For purely literary society, with its affectations and contempts, he has no sympathy. He has at length chosen New York as his residence, and among the Schuylers, Sherwoods, and their friends he appears to find what he enjoys. There is evidently a gene about people and life here, and provincialisms which he found would hurt him. He is very sensitive and keen, with a love and reverence for Dickens almost peculiar in this coldly critical age. Bryant he finds very cold and totally unwilling to lead the conversation, as he should do when they are together, as he justly remarks, he being so much younger - but never a word without cart and horses to fetch it. Bret Harte has a queer absent-minded way of spending his time, letting the hours slip by as if he had not altogether learned their value yet. It is a miracle to us how he lives, for he writes very little. Thus far I suppose he has had money from J. R. O. & Co., but I fancy they have done with giving out money save for a quid pro quo.’

18 September 1875
‘Bret Harte came on the 1⁄2 past 12 train. He came in good health, save a headache which ripened as the day went on; but he was bubbling over with fun, full of the most natural and unexpected sallies. He wished to know if I was acquainted with the Cochin China hen. They had one at Cohasset. They had named him Benventuro (after a certain gay Italian singer of strong self-appreciation who came formerly to America). He said this hen’s state of mind on finding a half-exploded fire-cracker and her depressed condition since its explosion was something extraordinary. His description was so vivid that I still see this hen perambulating about the house, first with pride, second with precipitation, fallen into disgrace among her fellows. He said Cohasset was not the place to live in the summer if one wanted sea-breezes. They all came straight from Chicago!! He fancied the place, thinking it an old fishing village, not unlike Yarmouth. Instead of which they prided themselves upon never having “any of your sea-smells,” and, being five miles from the doctor, could not be considered a cheerful place to live in with sick children. He said he was surprised to find J. T. F. without a sailor’s jacket and collar. The actors among whom he had been living rather overdid the business; their collars were wider, their shirts fuller, and their trousers more bulgy than those of any real sailor he had ever observed, and the manner of hitching up the trousers was entirely peculiar to themselves and to the stage. [. . .]

Harte said in speaking of Longfellow that no one had yet overpraised him. The delicate quality of humor, the exquisite fineness in the choice of words, the breadth and sweetness of his nature were something he could hardly help worshipping. One day after a dinner at Mr. Lowell’s he said, “I think I will not have a carriage to return to town. I will walk down to the Square.” “I will walk with you,” said Longfellow. When they arrived at his gate, he said, he was so beautiful that he could only think of the light and whiteness of the moon, and if he had stayed a moment longer he should have put his arms around him and made a fool of himself then and there. Whereat he said good night abruptly and turned away.

He brought his novel and play with him which are just now finished, for us to read. He has evidently enjoyed the play, and he enjoys the fame and the money they both bring him.

He is a dramatic, lovable creature with his blue silk pocket-handkerchief and red dressing slippers and his quick feelings. I could hate the man who could help loving him - or the woman either.’

This article is a slightly revised version of one first published on 25 August 2016.

I love it in the shed

‘I love it in the shed . . . I tiptoed my way in, past a couple of big sash windows from a skip and a fine semicircular stained-glass window, and eased along to the far end. A legless Windsor smoker’s bow chair: a lovely thing but in need of a set of legs. Another project for my nineties.’ This is Roger Deakin, author and environmentalist who died 20 years ago today, writing in a notebook he kept during the last years of his life. 

Deakin was born in Watford in 1943 in Watford, Hertfordshire, the only child of railway clerk Cyril Deakin and his wife Doris. His father died when he was 17. Deakin was educated at Haberdashers’ Aske’s School and then at Peterhouse, Cambridge, where he read English. After graduating, he worked as a teacher and then in advertising, while also making films and radio programmes. In 1968 he bought Walnut Tree Farm at Mellis in Suffolk, a timber-framed farmhouse surrounded by meadows and a moat, which he restored and where he lived for the rest of his life.

Deakin became closely involved in environmental campaigning and was one of the founders, in 1983, of Common Ground, an organisation concerned with local landscape, culture and environmental distinctiveness. He continued to work in advertising, broadcasting and documentary production, making programmes for the BBC and other organisations. His first book, Waterlog: A Swimmer’s Journey Through Britain, appeared in 1999, following a journey inspired by John Cheever’s short story The Swimmer. Deakin travelled around Britain swimming in rivers, lakes, canals, lidos, the sea and other stretches of open water.

After Waterlog, Deakin began travelling and researching a book about trees and wood, visiting places including France, Greece, Australia, Kazakhstan and Kyrgyzstan as well as many parts of Britain. He completed Wildwood: A Journey Through Trees shortly before his death. Diagnosed with a brain tumour in 2006, he died at Walnut Tree Farm on 19 August that year, aged 63. Wikipedia, The Outdoor Swimming Society, The Guardian, and University of East Anglia. 

During the last six years of his life, Deakin also kept a detailed record of his daily life, work, thoughts and memories. He filled 45 lined exercise books in his distinctive handwriting, numbering and paginating each one and putting a table of contents on its cover. The entries included observations of the countryside around Walnut Tree Farm, accounts of everyday activities and encounters, memories, travel notes and material gathered for his books and radio programmes.

After his death, extracts from the notebooks were edited by his partner Alison Hastie and Terence Blacker and published by Hamish Hamilton in 2008 as Notes from Walnut Tree Farm (which can be sampled at Googlebooks).. Rather than reproducing the notebooks chronologically, the editors selected entries from different years and arranged them month by month to create a single composite year. Abbreviations were expanded, but otherwise the published extracts retained Deakin’s words. The following three entries are taken from that volume (though none can be dated to a particular year).

9 January

‘A wild, windy night and a bright, clear windy day. I walk out along Cowpasture Lane and up the hill to the pollard hornbeam, definitely a trasmocho tree with its unusually wide bolling. On the way I stand leaning on the little wooden bridge over the stream at the ford, watching the running water. Then a long trudge into the wind to reach the badger sett, still very active and well trodden, with claw marks in the mud everywhere. The wood is creaking, and a sound like a squeaky hinge sings out where two birches are rubbing against each other. From the mud hill-fort of the badger sett, beaten paths radiate into the wood and out across a plank bridge into the weedy set-aside field beyond the wood. In the long shadows of the late white sun it is easy to make them out and to follow one over the field to a ditch crossing and all the way to a gap in the wire fence of the railway embankment, where the badgers scratch themselves against the wire and leave little clumps of their shaving-brush hair on the grass. I walk to the lane in the shadow and shelter of the tall embankment and scuttle home, glad of the shelter of the lane’s hedges.’

15 February

Saturday morning I wake up in London and walk over to the Festival Hall after a hearty bacon and mushroom breakfast. Over Waterloo Bridge, and see a long queue of people eddying and dropping down the narrow well of stairs to the Embankment below like water going down a bath plug.

Amazing forest of placards on pine sticks provided by the Mirror. I found myself marching behind banners I couldn’t read held by a bunch of women, with one reading, as I later discovered after being photographed by the press, ‘Cunt-lovers Against the War’.

There were quite a few dogs on leads, ‘Dogs of War’, as one placard called them, and several poodles, including one led by a priest in full cassock with a banner behind it that read ‘Poodle, Bite your Master’s Leg’.

There were also several beautifully made huge swans, which flapped their diaphanous wings and seemed to fly above the crowd, a striking image in the park. Mike [Hodges] and I spoke up for the daffodils in Hyde Park that were getting trodden down and crushed, and a man climbed up into a plane tree in St James’s Park to watch the march.

There were placards like ‘Pagan Queers for Peace’ and ‘Cold? Wrap Yourself Up in a Woolly Liberal’. Richard discovered long-lost friends like the Berkhamsted CND and the Woodcraft Folk.

Mike, Sarah Martin and Carol [Law] escaped from the park, meeting Caroline Soper and Hanif Kureishi on the way, picked up a free bottle or two of Mecca Cola, and squeezed through a narrow iron gateway with thousands of others to reach Marble Arch and the warmth of a café, then adjourned later to Cigala for a dinner of Caldeirada and rabbit paella, washed down with several bottles of an excellent Ribera del Duero wine called Martin Berdugo. Sarah Martin says she knows of a cork oak forest, where black pigs graze in the woods in the west of Andalusia near Murcia; and the hotel is owned by some people called Chesterton.

Drove home at 1 a.m., arriving at Mellis at 3 a.m., e-mails to Australia (big 500,000 march in Sydney), bed at 4 a.m.’

18 February

‘I had to fiddle about putting the car on the battery charger, then went up the field to rummage about in one of my sheds looking for an architrave. I love it in the shed. Half the tin roof has rusted through and caved in, but, instead of mending it, which would have meant cutting down some brambles to get round the back, I simply moved all the wooden architraves and mouldings into another part of the shed away from the drips.

The whole floor of the shed is under attack from the rabbits whose warren it is, so all the contents are constantly subsiding into the earth. It is a shed with subsidence.

I tiptoed my way in, past a couple of big sash windows from a skip and a fine semicircular stained-glass window, and eased along to the far end. A legless Windsor smoker’s bow chair: a lovely thing but in need of a set of legs. Another project for my nineties.

Removing several sections of stove pipe, I came across the canvas bed that would have been used to convey the grain and chaff to the threshing drum. I moved this and uncovered the pile of architraves and mouldings. All beautiful but all too short, and not a single one matching. I never knew it was possible to plane wood in so many different ways.

None of the pieces was right. A man called David Bill at Shepperton Studios had given them to me years ago, leftovers from commercial sets. Mock-dado rails. Spoof Edwardiana. And now here they were, a palace for spiders, a dust museum, a nuisance for the rabbits. In the end I drove to Diss and bought a new architrave from Jewson’s.’

The concept of decadence

‘[In] literary articles in journals edited by marxists the concept of decadence is appearing more and more frequently of late. i discover that decadence includes me. this is naturally of great interest to me. a marxist actually needs the concept of decline. it serves to identify the decline of the ruling class in the political and economic spheres.’ This is from the diary of Bertolt Brecht, one of Germany’s most important 20th century playwrights who died 60 years ago today.

Eugen Berthold Brecht was born in 1898 in Augsburg, Bavaria, into a mixed Catholic/Protestant family. He was educated at Königliches Realgymnasium, and then avoided the army by enrolling as a medical student at the Ludwig Maximilian University in Munich, where he also studied theatre. He never finished training as a doctor but did do some military service as a medical orderly. During the war, though, he had begun to write newspaper articles, under the name Bert Brecht, and he wrote his first play, Baal, in 1918, but it was not produced until 1923. He became increasingly involved in the theatre and cabaret world, being much influenced by the Munich comedian Karl Valentin. Brecht’s first produced play - Drums in the Night - was premiered in 1922 to rave reviews.

In 1917, Brecht had begun an affair with Paula Banholzer, who had a child, Frank, by him. In 1922, he married the actress Marianne Zoff, and they had a daughter, Hanne, though that relationship soon broke down, and, in 1924, he had a son, Stefan, with Helene Weigel. Five years later, he married Weigel, and they had a second child, Barbara, who would eventually inherit the copyright to all of Brecht’s literary works.

In 1919, Brecht became associated with the Independent Social Democratic Party, and become friends with the writer Lion Feuchtwanger. By 1924, they had collaborated on an adaptation of Christopher Marlowe’s Edward II - the first of many classic texts Brecht would adapt. The same year, he went to work at Max Reinhardt’s Deutsches Theater in Berlin - then one of the world’s leading theatres. He produced many well-received plays, not least The Threepenny Opera, adapted from The Beggar’s Opera with the composer Kurt Weill. Around this time, Brecht also published his first book of poems. In the early 1920s, Brecht started using the first name Bertolt, to rhyme with that of his collaborator, the playwright Arnolt Bronnen.

Brecht had long been a student of Marxism, but, by the mid-1920s this interest was leading him to write political dramas such as Rise and Fall of the City of Mahogony, also with Weill. After Hitler came to power, Brecht fled Germany in 1933, first to Scandinavia, settling on the Danish island of Funen, then, in 1941, to California, writing poems and plays (such as Galileo and Mother Courage and Her Children) all the while. After the war, in 1947, he was interrogated by the House Un-American Activities Committee, but left the following day to return to Europe.

After staying in Switzerland to begin with, Brecht settled in East Berlin, where he launched the celebrated Berliner Ensemble, but he wrote few plays in his last years, focusing more on directing and teaching young directors and playwrights. In 1955, he received the Stalin Peace Prize, and, the following year, he died on 14 August. Further information is available from Wikipedia or Encyclopædia Britannica.

Brecht seems to have kept a diary in childhood, although only one journal - the so-called Diary 10 written in 1913 (but which refers to earlier diaries) - appears to have survived (for more on this see Bertolt Brecht: A Literary Life by Stephen Parker at Googlebooks). He kept a diary in his early 20s: Bertolt Brecht Diaries 1920-1922, edited by Herta Ramthun, translated and annotated by John Willett, published by Eyre Methuen, 1979. And again he kept a diary from 1938 until the end of his life (though he recorded little in his last years): Bertolt Brecht Journals 1934-1956, translated by Hugh Rorrison, edited by John Willett, and published by Methuen, in 1993. A review in New Statesman and Society of the latter, quoted by the publisher, described the book as ‘a marvellous, motley collage of political ideas, domestic detail, artistic debate, poems, photographs and cuttings from newspapers and magazines’. Here are several extracts.

24 July 1938
‘there are concepts which are difficult to defend because they spread such boredom whenever they arise, like DÉCADENCE. there is naturally such a thing as the literature of the decline of a class, in it the class loses its serene certainty, its calm self-confidence, it conceals its difficulties, it gets bogged down in detail, it becomes parasitically culinary, etc. but the very works which identify its decline as a decline can scarcely be classed as decadent. but that is how the declining class views them, on the other hand the FEAST OF TRIMALCHIO exhibits all sorts of signs of formal decadence. and if ELECTIVE AFFINITIES is not decadent, WERTHER is.’

15 August 1938
‘FEAR AND MISERY OF THE THIRD REICH has NOW gone to press. lukács has already welcomed the spy as if i were a sinner returned to the bosom of the salvation army. here at last is something taken straight from life! he overlooks the montage of 27 scenes, and the fact that it is actually only a table of gests, the gest of keeping your mouth shut, the gest of looking about you, the gest of sudden fear etc. the pattern of gests in a dictatorship. now epic theatre can show that both ‘intérieurs’ and almost naturalistic elements are within its range, that they do not make the crucial difference. the actor will be well advised to study the STREET SCENE before playing one of the short scenes. the aforesaid gests are not to be performed in such a way that the audience wants to stop the scene, empathy is to be sedulously controlled, otherwise the whole thing is a dead loss. the montage, a process that has been so thoroughly condemned, arose here out of letters from dudow who needed something for his little proletarian theatre-group in paris. so the proletarian theatre in exile is keeping the theatre alive. while in moscow maxim vallentin, the one-time director of a berlin agitprop group, has gone over to bourgeois theatre and announced that in art an appeal has to be made to the emotions, which can only mean reason has to be switched off.’

18 August 1938
‘by offering only formal criteria for realism LUKÁCS, whose significance is that he writes from moscow, is in the final estimate handing readers who are avid to learn on a plate to those famous contemporary bourgeois novelists on whom he has bestowed great, if slightly embarrassed compliments, because they display the said formal features (even if they are not so ‘happy’, ‘pure’ and ‘creative’ as the old masters of the great early period). they become his realists (he allays any suspicion by contrasting them with a form of ‘decadence’, to which DOS passos and presumably i too belong), whose descriptions exclude the class struggle (‘do not not take sufficiently into account’, ‘do not yet fully encompass’), so that the reader himself then has to unravel the complicated reflections which the ‘decadents’ incorporate in their books, the very reflections which establish that the events depicted derive from the class struggle. they all display LUKÁCS’S hallmarks, HEINRICH MANN presents such a ‘tangle’ of different human fates in his HENRI QUATRE that nobody can find his way around in it, and doesn’t his brother THOMAS unfold the ‘whole life of the biblical joseph’ in all its ultimate fullness! in HAMSUN we have ‘very involved, very indirect relationships’ by the dozen, the class struggle is less in evidence in all three, but naturally we can add that for ourselves, for ‘in the last resort’ everything is class struggle, such obtuseness is monumental.’

10 September 1938
‘in literary articles in journals edited by marxists the concept of decadence is appearing more and more frequently of late. i discover that decadence includes me. this is naturally of great interest to me. a marxist actually needs the concept of decline. it serves to identify the decline of the ruling class in the political and economic spheres. it would be stupid for him to refuse to recognise decline in the artistic sphere. eg literature cannot exclude the great shackling of productive capacity by the capitalist means of production. i am restricting myself in the first instance to my own production. my first book of poems, the DEVOTIONS FOR THE HOME, is undoubtedly branded with the decadence of the bourgeois class. under its wealth of feeling lies a confusion of feeling. under its originality of expression lie aspects of collapse. under the richness of its subject matter there is an element of aimlessness,. the powerful language is slack. etc etc. seen in this light the subsequent SVENDBORG POEMS represent both a withdrawal and an advance. from the bourgeois point of view there has been a staggering impoverishment. isn’t it all a great deal more one-sided, less ‘organic’, cooler, ‘more self-conscious’ (in a bad sense)? let’s hope my comrades-in-arms will not let that go by default, they will say the SVENDBORG POEMS are less decadent than DEVOTIONS FOR THE HOME. however i think it is important that they should realise what the advance, such as it is, has cost. capitalism has forced us to take up arms. it has laid waste our surroundings. i no longer go off ‘to commune with nature in the woods’, but accompanied by two policemen. there is still richness, a rich choice of battlefields. there is originality, originality of problems. no question about it: literature is not blooming. but we have to beware of thinking in terms of outdated images. this notion of bloom is too one-sided. you can’t harness ideas of value, definitions of power and greatness, to an idyllic conception of organic flowering; it would be ridiculous. withdrawal and advance are not separated according to dates in the calendar. they are threads which run through individuals and works.’

7 October 1938
‘the fall of Czechoslovakia is remarkable for the way it happened. eg people continue to speak about that country as if it were still the same, and for that reason some of its actions are surprising. people have understood that it has to hand over something to germany, but now it is handing over more, in fact everything as far as everybody is concerned. including the jews and refugees. people forget that this defeat has brought different class forces to the helm, so the state has become a different person in law, one can no longer speak of czechoslovakia. and how did this come about? ‘england’ could not enter into a war which its russian ally would have won. the russian ally could not enter into a war which the russian generals would have won. france could not enter into a war which the popular front would have won. and none of them, naturally, could lose a war.’

23 November 1938
‘finished LIFE OF GALILEO. it took three weeks. the only difficulties arose with the last scene. just as in the case of ST JOAN, i needed a neat stroke at the end to ensure that the audience had the necessary detachment. even somebody empathising without thinking must now feel the a-effect when he empathises with galileo. with rigidly epic presentation an acceptable empathy occurs.’

This article is a slightly revised version of one first published on 14 August 2016.

All sorts of absurdities

‘About 10 at night young George Dixon, clerk to our Union came to my house & gave me some particulars of a séance (Spiritual) he had attended on Tuesday night in Glover Street, & how he found out the “medium”, a late Liverpool sailor named Eades to be an imposter. This Spiritual business, in the shape of Spiritualism is over-riding common sense, & delivering people into all sorts of absurdities.’ This is from the diaries of Anthony Hewitson, a provincial journalist born 190 years ago today. His diaries - which are free to read online - are considered a rare first hand resource for studying journalism in mid-victorian Britain.

Hewitson was born in Blackburn, Lancashire, on 13 August 1836, and was brought up largely in Ingleton by his grandparents. In 1850, aged 14, he moved to Lancaster to begin a seven-year apprenticeship as a compositor on the Lancaster Gazette. He taught himself shorthand and, while still an apprentice, began reporting for the Gazette and sending material to other newspapers, including the Manchester Guardian. After completing his apprenticeship he worked briefly on newspapers in Kendal and Wolverhampton before moving to Preston. In September 1858 he married Margaret Wilson, the daughter of a Lancaster tailor and draper, with whom he was to have a large family.

Hewitson worked successively for several Preston newspapers, including the Preston Chronicle, the Preston Herald and the Preston Guardian, becoming chief reporter on the latter. He also supplemented his income with freelance reporting for newspapers outside the town. Dismissed by the Guardian in 1867, apparently because its proprietor believed he intended to establish a rival news agency, he returned to the Chronicle. In March 1868, aged 31, he bought the paper for £580 and became its proprietor and editor. He developed the Chronicle into a successful business and ran it for 22 years, selling it in 1890. He subsequently launched a newspaper in Lancaster and in 1896 acquired the Wakefield Herald, which was managed by his son Ethelbert.

Alongside journalism, Hewitson was a prolific writer on Preston and its history. His books included Our Churches and Chapels (1869), Preston Town Council (1870), Our Country Churches and Chapels (1872), and his substantial History of Preston (1883), to which he appended a detailed chronology of the town from 705 to 1883. He also edited historical diaries, including that of Thomas Tyldesley, and in later life continued writing historical and antiquarian articles. Semi-retired after selling the Chronicle, he lived at various times in Preston, Morecambe and Yorkshire, while retaining interests in newspapers and property. He died in 1912, aged 75. Further information is available online at Open Book Publishers.

Hewitson began keeping diaries as a young man, with the surviving sequence extending from the 1860s almost to his death. Seventeen manuscript diaries are known, now held by Lancashire Archives, although there are substantial gaps. The fullest surviving run begins in 1865, when Hewitson was working as chief reporter on the Preston Guardian. He usually wrote at the end of the day, recording his reporting assignments, newspaper work, business dealings, reading, journeys and social encounters alongside domestic events and his reactions to the people and events around him. The diaries were also working records: Hewitson returned to them for information which could be reused in his journalism and historical writing. The result is an unusually detailed record not only of one Victorian family but of the everyday mechanics of provincial journalism - meetings and court cases, news gathering, gossip, freelance work, printing, editing and the commercial running of a newspaper. Diaries by nineteenth-century provincial journalists are extremely rare; Hobbs describes Hewitson’s as ‘the only known diaries of a 19th-century provincial journalist’.

The diaries have been transcribed and edited by journalism historian Andrew Hobbs, with work also undertaken by Hewitson’s descendant Margaret Dickinson, Pauline Wainwright and the Friends of Lancashire Archives. The Diaries of Anthony Hewitson, Provincial Journalist, Volume 1: 1865-1887, edited by Hobbs, was published by Open Book Publishers in 2022 and made freely available online. It contains the surviving diaries for 1865-1868, 1872-1875, 1881, 1884-1885 and 1887, together with autobiographical material and extensive annotation. A second volume, covering the surviving diaries from 1891 to 1912, is in preparation. Transcriptions of much of this later material have meanwhile been made available online by Hobbs through his Hewitson Diaries website. The diaries provide a particularly rich source for the history of Victorian journalism, while also documenting family life, politics, religion, entertainment and the changing social and commercial life of Preston.

6 January 1873 

‘Heard this morning - first day of “Great Saturday Horse Fair” - that my friend Jas. Kenyon had rambled off somewhere in “the blues”. Went with a friend to police station & set on two detectives to search. Found out in evening, that Kenyon had rambled home into Claughton. At night I & wife went to a carding party at house of a person called R. Lancaster in Eastcliff rd. Had supper there, & stayed till 1 in morning.’

22 May 1873 

‘Working in shop nearly all day except a little in morning when I had a dip into John Stuart Mill’s work on Utilitarianism. About 10 at night young George Dixon, clerk to our Union came to my house & gave me some particulars of a séance (Spiritual) he had attended on Tuesday night in Glover St[ree]t, & how he found out the “medium”, a late L[iver]pool sailor named Eades to be an imposter. This Spiritual business, in the shape of Spiritualism is over-riding common sense, & delivering people into all sorts of absurdities. To-day young Woods tobacconist went into shop I left in Fishergate. My charge for fixtures is 5/- per week.’

3 February 1874

‘Preston election to-day. Voting began at 8 in morning & closed at 4 in af[ternoo]n. All mills closed from dinner time. Much crowding in Fishergate; but all orderly. The candidates were Mr E Hermon & Mr J Holker (the two previous Conservative members) & Mr Mottershead, who came down from London as a “Working Man’s candidate”. The result of the election was the return of Hermon & Holker. Mottershead polled more votes than was expected. At night after doing some telegraphing, I had something to drink with some Conservatives.’

20 February 1874

‘Violent railway collision this morning between Euxton & Coppull. Scotch limited mail, through a fog, ran into a standing coal train. Much damage & destruction; & driver & stoker of mail af[terwar]ds died through the injuries they received. I went to scene of accident at noon & got some particulars for our own & other papers. Telegraphed it to The Times. Disraeli’s new administration announced at 12.30 to-night.’

1 April 1874 

‘A tolerably easy day; & April joke making confined to children.’

13 August 1874

‘My 38th birthday. I thank God that I have lived thus far & have amid all changes & struggles enjoyed & felt His wisdom & goodness. May my next 38 years & odd be similarly - nay more fully - imbued with & blessed by His excellence. Working all day & home to White Horse at night.’

18 April 1875

‘To Morecambe with Florence my daughter this morning. Walked from Hest Bank to Morecambe along sands side. Beautiful walk - tide in, sea birds flying about. Spent a good part of day on pier where my father in law has a refreshment room.’

30 January 1884

‘My daughter Florence returned to daughter day from America in the SS “City of Chicago” - same boat she & I went out in. I went to L[iver]pool to meet her - sailed down Mersey in a tender as far as New Brighton. Daughter had a very rough voyage & was sick again. To Preston - home - both of us early.’

Tuesday 25 March 1884

‘To St Anne’s-on-Sea to day in order to get materials for an article on the place. Mr T Fair, who will pay me for the article, wants it for one of the Manchester evening papers. I called at his house and had lunch. Then I went with him in his carriage to St Anne’s round which I rode, & then he left me to my own wanderings & musings. Quiet but pleasant. Home at about 7 in evening.’

22 January 1885

‘Same. At night I & my wife went to Gaiety Theatre to see “the claimant” - the alleged Sir Roger Tichborne, who has recently been released on ticket of leave, after ab[ou]t 10 y[ea]rs imp[risonmen]t for perjury. Prior to his trial he paid a visit to Preston, & at a public gathering - anyhow audience - in the Corn Xchange - I put two or three questions to him. He answered them cunningly but badly. The chief questions were - Did he know anybody except himself who had forgotten t[he] name of his mother and the very alphabet o[f] a language he once was well acquainted with. He looked considerably thinner & was going quite grey in whiskers on Thursday night.’

5 February 1885

‘Unwell. Had a Turkish bath in af[ternoo]n - heat during part of time being 225 degrees. Working till 10.5 at night - on leaving the bath. News published of the fall of Khartoum this morning. Great shock to English.’

Night music struck down

‘I feel as if a lovely delicate child, tender and humorous, had been knocked down by a truck and lay dying.’ This is the US playwright Clifford Odets, born 120 years ago today, commenting in his diary on the opening night reviews of his play Night Music. Though regarded as a key figure in the development of American theatre for his socially-relevant dramas, neither his name nor his plays are remembered as well as those of Tennessee Williams or Arthur Miller - perhaps because he gave in to pressure from McCarthy to name names, or perhaps, some writers suggest, his ’narrative of decline’.

Odets was born in Philadelphia to Jewish immigrant parents on 18 July 1906, the oldest of three children. Later the family moved to the Bronx, New York, where he went to high school, but dropped out to study acting. Having relocated to Greenwich Village, he worked in a number of jobs (such as radio elocutionist and camp drama counsellor) and performed with various theatre groups before landing a first casting on Broadway in 1928. He worked with the Theatre Guild for a bit, and was then selected, in 1931, to join the newly formed Group Theatre. Famously, this based its performances on the kind of method acting devised by Stanislavski and recently introduced into the US. Elia Kazan, who would go on to become a much feted director on Broadway and in Hollywood, was another member.

Employed only as a rarely used understudy, Odets began to use his time to write plays, but continued to take part in the Group Theatre’s training and rehearsal schedules. His plays, inspired by and suffused with Group Theatre’s techniques, were left wing and socially hard-hitting. However, at first they were not good enough for the group’s leader, and it was not until early in 1935 that one was produced - Waiting for Lefty. The opening night was a huge success. Within weeks, the group was opening with Awake and Sing!, a play Odets had been working on for some time, and which Encyclopaedia Brittanica (1979 edition) says ‘foreshadowed’ Arthur Miller and ‘related Odets with Tennessee Wiilliams’. Further plays followed, including Rocket to the Moon (1938) which led to Odets being featured on the cover of Time, and the highly successful Golden Boy. However, Night Music, which opened in 1940 with Elia Kazan in the lead, was a flop; and it was a disaster for Group Theatre, presaging the company’s end.

By the mid-1930s, Odets had relocated to Hollywood (though he would continue to travel to New York regularly) to work as a screen writer, often declining to be credited, and as a director (None but the Lonely Heart, 1944). There he met and married the German-born actress Luise Rainer (who by then had won best actress awards in 1936 and 1937), though the marriage would last but three years. He married another actress, Bette Grayson in 1943, and they had two children before divorcing in 1951. Odets was investigated by Joseph McCarthy in 1953, and is suspected of having named names; certainly he continued to work in Hollywood, but lost friends.

Though there have been several major biographies of Odets, his name is clearly not as well remembered as that of Eugene O’Neill, Tennessee Williams or Arthur Miller. On the centenary of the writer’s birth, in 2006, The New Yorker concluded: ‘It’s possible that Odets’s narrative of decline is what has kept him from claiming the privileged place in the theatrical discussion that he deserves. Odets’ plays showed a way for the next generation of playwrights to combine linear movement with psychological complexity and depth. He brought a new demotic music to stage speech. His subject was always the struggle of the heartbroken American soul under capitalism. “I will reveal America to itself by revealing myself to myself,” Odets wrote. His plays and his life, full of unique lament and liveliness, eloquently fulfill his prophecy.’ Further biographical information is also available at Wikipedia, New York Public Library, Encyclopaedia Britannica and Penniless Press.

Odets kept a diary regularly thought his life. His papers at the New York Public Library for the Performing Arts include a series of diaries and journals spanning 1926-1963, with entries from a number of separate years rather than one continuous diary. The archive lists journals from 1926, 1932, 1940, 1953, 1955, 1958 and other periods right up to the year of his death. However, only one diary - from 1940 - has been published: The Time Is Ripe: The 1940 Journals of Clifford Odets (Grove, 1988). Kirkus Reviews has a short review; and Library Journal says this: ‘His journal shows a gigantic ego lavishing severe judgment on friend and enemy alike, and an overactive libido seeking the perfect woman (he had access to a breathtaking array of them). Although Odets was hard on everyone, he judged himself most severely. This journal records the dark journey of a life and time out of joint yet seeking their proper form. Interspersed are glimpses of major figures in modern American theater and film.’

The only diary quotes from the book I can find online are thanks to The Sheila Variations (‘not a film’) blog - both extracts below concern Odets’s play The Night Music.

22 February 1940
‘This is the time for opening the play. Harold gave the cast a brief line run-through, but I stayed at home, sleeping, resting, lounging it out against my slowly constricting nerves. Restless, finally, I jumped into the roadster and rode out to Sunnyside to take Bill and Lee to dinner. I chattered away, quite calm, really, to that peculiar point of indifference which comes from having done all that one can do in a situation. We rode into New York and had dinner across the street from the theatre, at Sardi’s. A lot of the people who are going across the show were eating dinner there - it was like running the gauntlet. Stella Adler was there with a party, smoke-eyed and neurotic - usually when you are dying she is more dramatic about the event than you are! Finally I pushed my way through a lot of well-wishing people and went over to the theatre. The cast was in fine shape, quietly making up in their own rooms; no noise, no excitement backstage, things routine and orderly.

The audience was no better or worse than the usual opening night crowd. If anything they were an edge more respectful. Harold I had met outside the theatre for a moment - he was white and tired and was going to see a musical comedy, true to his habit of never attending an opening. I, on the other hand, get a kind of perverse spiteful pleasure from attending an opening. I saw none of the critics but shook hands with several friends.

The performance of the play was tip-top - the cast had never been better. The play suffered from what had always been wrong with it because of a certain lack in the direction - a lack of clear outlining of situations, a lack of building up scenes, a certain missing in places of dramatic intensity. But none of these things was enough to do vital harm to a beautiful show, smooth, powerful and yet tender, fresh, moving, and touching, with real quality in all the parts. But I could see during the first act that the audience was taking it more seriously than it deserved; and I knew that the old thing was here again - the critics had come expecting King Lear, not a small delicate play. It all made me very tired, but at the end I thought to myself that it didn’t matter, for the show was more or less what I intended; it was lovely and fresh, no matter what the critics said. And I knew, too, that if another and unknown writer’s name had been on the script, there would have been critical raves the next day.

People surged backstage after the curtain - they all seemed to have had a good time. There were the usual foolish remarks from many of them - “Enjoyable, but I don’t know why,” etc., etc. Also, a good deal of insincere gushing from a lot of people who would like nothing better than to stick a knife in your ribs. God knows why!

I invited some people down to the house for a drink. Along came the Eislers, Kozlenkos, Bette, Julie [John] Garfield, Boris Aronson, old Harry Carey and his wife, Morris and Phoebe later, Harold, Aaron Copland and Victor [Kraft[, Bobby Lewis and his Mexican woman, etc. etc. We drank champagne, Scotch when the wine ran out, smoked, filthied up the house, listened to some music. Then they went and I dropped into bed, dog-tired, unhappy, drunk, knowing what the reviews would be like in the morning. In and out I slept, in and out of a fever - all of modern twentieth-century life in one day and a night.’

23 February 1940
‘The biggest shock I have experienced since the auto crash in Mexico a year ago was the reviews of the play today. Perhaps it was the serious lack of sleep which kept me so calm and quiet. I wanted to send the Times man a wire telling him I thought his notice stupid and insulting, but I gave up that idea after a while. Equally distressing to me was the attitude at the office, an ugly passivity. They are quite inured there to the humdrum commercial aspect of doing a play this way - close if the notices are bad.

My feelings were and are very simple. I feel as if a lovely delicate child, tender and humorous, had been knocked down by a truck and lay dying. For this show has all the freshness of a child. It was Boris A. who called the turn. He said, “This show is very moving to me, a real artwork, but I don’t think they will get its quality - it is not commercial.”

In the morning I cashed fifteen thousand dollars worth of the baby bonds I hold. I thought to spend it on advertising, to keep the show open, etc., but by the time I finished at the office in the afternoon it was easy to see the foolishness of that; the show costs almost ten thousand a week to run.

So, friend, this is the American theatre, before, now, and in the future. This is where you live and this is what it is - this is the nature of the beast. Here is how the work and delight and pain of many months ends up in one single night. This is murder, to be exact, the murder of loveliness, of talent, of aspiration, of sincerity, the brutal imperception and indifference to one of the few projects which promise to keep the theatre alive. And it is murder in the first degree - with forethought (perhaps not malice, perhaps!), not second or third degree. Something will have to be done about these “critics”, these lean dry men who know little or nothing about the theatre despite their praise of the actors and production. How can it happen that this small handful of men can do such murderous mischief in a few hours? How can it be that we must all depend on them for our progress and growth, they who maybe drank a cocktail too much, quarreled with a wife, had indigestion or a painful toe before they came to see the play - they who are not critics, who are insensitive, who understand only the most literal realism, they who should be dealing in children’s ABC blocks? How can the audience be reached directly, without the middleman intervention of these fools?

I think now to write very inexpensive plays in the future, few actors, one set; perhaps hire a cheap theatre and play there. Good or bad, these “critics” must never be quoted, they must not opportunistically be used. A way must be found to beat them if people like myself are to stay in the theatre with any health and love. Only bitterness results this way, with no will or impulse for fresh work. The values must be sorted out and I must see my way clearly ahead, for I mean to work in the American theatre for many years to come.

I have such a strong feeling - a lovely child was murdered yesterday. Its life will drag on for another week or ten days, but the child is already stilled. A few friends will remember, that’s all.’

This article is a slightly revised version of one first published on 18 July 2016.