A librarian’s business

Humfrey Wanley, an English librarian, palaeographer and scholar of Old English, died 300 years ago today. He was employed by manuscript collectors and was the first keeper of the Harleian Library. He left behind a rather unusual diary: although little more than a banal record of a librarian’s day-by-day business in the early 18th century, it is considered an important record for the history of book collecting.

Wanley was born in Coventry in 1672, the youngest son of the clergyman and author Nathaniel Wanley. Apprenticed to a Coventry draper while still in his teens, he developed an extraordinary fascination with medieval manuscripts, teaching himself to read and copy ancient hands in every spare moment. His talent attracted the attention of William Lloyd, whose patronage enabled him to enter Oxford in 1695. Although he never took a degree, his remarkable expertise in palaeography quickly earned him a place as an assistant in the Bodleian Library; there he began work that established him as the foremost Anglo-Saxon manuscript scholar of his generation.

During the following decade Wanley became indispensable to the study and cataloguing of England’s medieval manuscripts. He travelled widely in search of Anglo-Saxon books, compiled the pioneering catalogue of Old English manuscripts published in 1705, and gained the confidence of the great manuscript collector Robert Harley. From 1708 he served as keeper of the Harleian Library, helping to build one of Britain’s greatest manuscript collections, now preserved in the British Library. His meticulous cataloguing and formidable knowledge of early English texts made him one of the founders of modern manuscript scholarship.

Wanley married Anna Bourchier, the widowed Bernard Martin Berenclow, at St Swithin, London Stone, in 1705. Their three children all died in infancy, and Anna herself died in 1722. He later married Ann Lloyd. Frequently troubled by poor health, Wanley nevertheless continued working almost until the end of his life. He died of dropsy in London on 6 July 1726 and was buried in St Marylebone Parish Church. Further biographical information is available from Wikipedia, Kemble College, The British Academy or an article in The Scribe Unbound.

Wanley’s diary covers the final eleven years of his life, from March 1715 until June 1726. Kept primarily as a working journal, it records his daily dealings with booksellers, collectors, scholars and aristocratic patrons, especially the Harleys, alongside visits to auctions, coffee houses and libraries. Rather than offering introspective reflections, it provides an unusually detailed picture of the London book trade, the formation of great manuscript collections and the practical business of scholarship in the early eighteenth century. It has become an indispensable source for historians of books, libraries and antiquarian learning.

Although long known to scholars in manuscript, the diary was not published until 1966, when the Bibliographical Society issued The Diary of Humfrey Wanley, 1715-1726 in two volumes, edited by C. E. Wright and Ruth C. Wright. The full text can be read online at Internet Archive. Here are several extracts - including a part of the introduction - that give a flavour of the full published work.

Introduction: ‘Humfrey Wanley’s Diary or Journal, here printed for the first time in its entirety, was kept by him while Library-Keeper in the service of Robert Harley, 1st Earl of Oxford, and Edward, his son, the 2nd Earl, and runs from 2 March 1714/15 to 23 June 1726, with, however, a considerable gap (except for one entry under 18 July 1716) between 22 August 1715 and 11 January 1719/20, when the Diary was resumed by my Lord Harley’s Order. It records the visits of, or to, booksellers and dealers, and negotiations with them; lists of manuscripts and printed books offered for sale, purchased, or received by gift; conversations with various people about library business; the visits of scholars and others to the Library, either as students there or as sightseers, and so on. It is in fact a record of the day-by-day business of a working librarian and is in no sense, therefore, a diary such as Pepys’s or Evelyn’s: apart from occasional references to his health, Wanley’s allusions to personal affairs are few, for instance, a reference to the sudden death of his wife (on 3 January 1721/22) - ‘my late grievous Calamity’ under the entry 15 January 1721/22 - and to the death of his landlady (under 10 November 1724), but a simple direct style, happy choice of descriptive word and phrase, skill in recounting an incident (such as the oft-quoted Warburton-Genoa Arms ‘frolick’ under 13 July 1720), a sarcastic, caustic tongue and occasional use of ‘asides’ (as when he says that Mr. Hugh Thomas ‘came to Study, as he think’s’ combined with the interest of the subject matter (at any rate to all those whose ways lie in the paths of librarianship) make it absorbing reading. The entry under 11 January 1719/20 suggests that when the Diary was begun in 1715 it was done so by Edward Harley’s instructions and that it was, in a certain sense, intended to be an official record of his work as custodian of the Library. It is preserved in two quarto-size volumes in the Lansdowne Collection.’

10 June 1715

‘My noble Lord Oxford was pleased to bring in an Original Letter of the Elector Palatin to Qu. Anne: and an Extract from a letter of the late Emperor of Morocco to her Majestie, in Arabic; with an English Version.’

14 June 1715

‘My Noble Lord Oxford was pleased to send in an Original Letter of Louise Princess of Holstein to Queen Anne.’

15 June 1715

‘My Noble Lord Oxford was pleased to send in an Original [letter] of Victor Amedeo the present King of Sicily, to himself.’

4 May 1720.

‘I went to Stafford-house, upon information that there are two very fine MSS which will be sold at the Sale of the late Earl of Stafford’s things, which Commence’s to morrow. I found the one to be a sort of Breviary, the other to be a kind of Diurnal, both very finely Illuminated.

A Letter was Sent to Mr Tanner, desiring him to attend my Lord this day by two of the clock. (in Order to receive my Lord’s Commissions for Buying at the Sale abovementioned).

Mr Sanderson sent me a Letter, with the Price he putt’s upon his Things; which price I think too dear, because very many of them His Lordship doth not want, or intend’s to buy: many other’s he hath already; and the remainder not considerable enough to induce him to part with so much as Mr Sanderson ask’s.

I went to Mr Warner the Goldsmith, desiring him to execute my Lords Commission for buying the MSS. abovementioned, and some other things at Stafford-house, which he readily undertook. I also bought of him the old Gyllyngham-Silver-Spoon for my Lord.’

28 June 1721

A Letter sent to Mr Noel, about a time when he is to wait upon my Lord.

Mr Charles Davis brought a MS. mostly Hebrew, written by a Christian, and partly Latin; being upon the Subject of Conjuration. I rejected it now; as I remember I did before about 7 or 8 years ago.

Mr Bogdani came, & took away the old Leaves he left with me.

Mr Cart came, enquiring about Mr Morley & A Bp. Sancrofts Papers.

Mr Bacon came, & told me that he had lately seen in a Booksellers Hands, one part of a Septi-partite Indenture between King Henry VII, and others, dated 16 July, anno regni 19, which is to be sold. But that the Seal & Bosses are taken off. I desired him to buy it for my Lord as cheap as he can; & he promised to do so.’

The giddy Wanda Gág

Wanda Gág, an American artist and author best known for her Millions of Cats children’s book (apparently, the oldest US picture book still in print), died 80 years ago today. She kept an interesting and intimate diary all her life, but only a selection from her youthful diaries have ever been published.

Gág was born in 1893 in rural Minnesota, the first of her parents’ seven children. Her father, an artist, had come from Bohemia, as had her mother’s parents. She wrote, later in life, that she grew up in an atmosphere of Old World customs and legends, and that her mother and she as well as all her siblings often drew and wrote stories. After the death of her father, in 1908, the family suffered financially, and Wanda struggled - against those advising she should work - to maintain her education. However, The Minneapolis Journal published some of her illustrated stories in their Junior Journal, which helped.

After graduating in 1912, Gág taught for a few months, but then continued her studies, attending The Minneapolis School of Art from 1914 to 1917, after which, with a scholarship, she moved to the Art Students League of New York, where she took lessons in composition, etching and advertising illustration. Around the same time, she completed a first illustrated boon on commission - A Child’s Book of Folk-Lore - and by the end of the decade was earning a living as a commercial illustrator.

The 1920s saw Gág become increasingly successful, involved in various publishing ventures and exhibitions. A one-woman show at the Weyhe Gallery in 1926 led to her being dubbed as ‘one of America’s most promising young graphic artists’. She also published essays on feminism, and illustrated covers for left-leaning magazines (such as The New Masses). To get away from commercial work, she rented a property in the country, calling it Tumble Timbers, where she could work on her fine art. She continued to support her unmarried siblings, some of whom lived with her from time to time, and even did work for her. She had various intimate relationships, though the most enduring was with her business manager, Earle Humphrey, who she married late in life.

Wooed as an illustrator by Ernestine Evans, director of Coward-McCann’s new children’s book division, Gág instead offered her own story with illustrations - Millions of Cats. It proved a winner, attracting awards, remaining in print since, and being judged one of the top 100 children’s stories. Further children’s books followed, but none so successful. She went on to translate and illustrate fairy tales by the Grimm brothers, while her art was recognised repeatedly with inclusion in major exhibitions, not least one at the Museum of Modern Art in 1939. She died of lung cancer on 27 June 1946. Further information can be found at Wikipedia, Minnesota Historical Society, Penn Libraries, or Wanda Gág House.

Gág kept a diary all her life, but while still alive chose only to edit and publish a selection from her youth: Growing Pains: diaries and drawings for the years 1908-1917 (Coward McCann, 1940). This is freely available online at Internet Archive, but has also been reprinted by Minnesota Historical Society Press. ‘Thirty-one notebooks originally compiled this diary,’ she wrote in her introduction ‘they are full of diagrams, self-portraits and other sketches, with many crossed-out words, ink spots - even tear blots. Several of the books are wrinkled and blurred from being stored in a damp cellar, and a few are lost.’ These notebooks, she explained, were carelessly stored in Minnesota for many years, but were eventually sent on to her in New York. ‘I had often wondered how I would feel upon re-reading them and had even speculated about it in my diary at times.’

In concluding her short introduction, Gág wrote about how she came to keep a diary in the first place: ‘At about this time I came across an old half-empty ledger of my father’s. In our household anything which could be drawn or written upon was in great demand; a notebook of any kind was a positive treasure. I pounced on the old ledger and, prompted perhaps by the fragmentary business accounts in my father’s handwriting, I began recording my earnings and expenditures, what drawings I had sent where and when, and other notes pertaining to my new business ventures. I was never able to limit myself to plain figures and facts in keeping accounts; and so reports on the weather, new additions to the baby’s vocabulary, family incidents, even youthful thoughts and yearnings, found their way into my “ledger.” And that, to the best of my memory, is how I came to start this diary.’

The following extracts are taken from Growing Pains. However, the Penn Libraries archive of Gág’s papers holds nine boxes with 59 diaries, dating from 1908 to 1945, as well as a dozen other notebooks - all itemised on the website. As far as I can tell, the only extracts from the later diaries have been published in Wanda Gág: A Catalogue Raisonné of the Prints by Audur H. Winnan (University of Minnesota Press, 1993). The publisher says this of the book: ‘Using excerpts form Gag's expressive diaries and letters, Winnan fleshes out a portrait of the artist. With extraordinary candor, Gag describes her intimate personal thoughts and experiences, and her friendships and encounters [. . .] Throughout her writings, Gag reflects on her career, the restrictions placed on women, and her sexual desires. This portrayal reveals both the internationally recognized artist who drew inspiration from van Gogh and Cezanne, and the vibrant, erotic woman who admitted to being amazed by her own passions.’

19 November 1913
‘Today I was out in the hall waiting for Sketch Class and two second-year students, Dave Hendrickson and Bob Brown, came along and stopped to look at my sketches. Bob Brown declared that my technique was very good (technique is Greek to me) and he said that I did not work in lines and that was a good thing. They think it’s so funny that I sit up nights and draw, and they think it’s funny too that I sketch myself. I thought all people who aspired to be artists drew as much as I do but it seems they don’t. I thought too that all, or at least a good many, of the art school students would be queer, but they aren’t; and it sometimes makes me wish that I weren’t so different. For I am - there is absolutely no getting around it. And a whole lot of my new acquaintances are in that stage now where they misunderstand me. I will stick to my old theory which is this: That I usually make a fairly good impression (I don’t mean to compliment myself by saying this, but it’s true and it only serves to make it so much harder afterwards) but that after they know me for a while they are disappointed in me. Then, if they have the faith to stick by me thru this second stage, they will find my true nature - at least as much of it as I ever show. Roughly speaking, at first they think I’m jolly, then they think I’m frivolous, and finally they find out that, after all, I am more serious than anything else. Paula has been the only one that I know of who has not come to the second stage after a year of my acquaintance. She stood by me for four years but even she is beginning to doubt me. Larry Morse said that I was “giddy” and altho Paula does not agree there, the remark has served to make her think-to think that perhaps he was not so far wrong. I am frivolous sometimes - giddy too, and silly - I can’t deny it. But often I act that way only to hide my real feelings. Besides (and I told this to Paula) if I were not frivolous once in a while, I am afraid I’d go mad or something like that, because I’d think too much. No one can know what it is to be I.’

20 January 1914
‘This noon at dinner we were discussing Love, Art & Marriage again. Miss Dean declared that she didn’t think there was any real love in the world. She believed in mother love, sister love, brother love and the rest, but not in The Love. I told her I had had that bee in my bonnet once too. She said, “Oh I know why you got over it,” and when I wanted to know why, she said, “Since you met Mr. Edgerley.” I told her I did not love Mr, Edgerley nor any other boy.

I reeled off the old story about taking Love & Art together etc. She thought I ought to sacrifice my art for my love. Theresa declared that I couldn’t take care of my children if I wouldn’t give up art, and I said if I would get married I’d drape my babies up in chiffon and sketch them, and that my husband would have to pose as king or beggar (according to what my latest fit would be like). To this Miss Dean said, “I pity your poor family!” and we ended up with a good all-around laugh.’

20 January 1915
‘Yesterday was an event in my life - I started painting in oils. I am rather timid about handling my brush for I am not at all used to the medium, so my study is abominally smooth and insipid. It looks something like the work of that eternal aunt or sister or cousin of everyone you meet “who does beautiful oil studies and has never taken a lesson in all her life.” But ding, I have a long road to travel in oil painting. It seems that Emma Brock (a former student who did some good illustrations last year) has returned. They say she doesn’t care about eating either.

I am beginning to like Mr. Goetsch and I think in a short time I shall like him very much indeed. Only some fine day we will have a good hot little discussion, I think. You see he thinks himself smart about some things, and I think myself smart about some things, and some day we’ll both think ourselves smart about the same thing. I don’t know how he found out I was an artist’s daughter, but yesterday during sketch class he looked at my crumpled wrapping paper and absolutely impractical method of holding the whole drawing outfit, and said, “Tz! Tz! Tz! And you an artist’s daughter?” I said, “Well, that just proves that I am an artist’s daughter. Artists aren’t practical.” And he laughed and went on.

I made a sketch last night which I consider rather decent but to which no one, up to this time, has taken a fancy to. I like it because it is bold and simple, and I think that I have successfully hidden the fact that it was studied out very carefully in the first place. I mean it looks as if it had been dashed in, only it hasn’t. [. . .] I am taking Color Harmony now and have stacks of make-up work to do.’

NB: The Girlhood Diary of Wanda Gág, 1908–1909: Portrait of a Young Artist published around 2000 by historian Megan O’Hara for Blue Earth Books/Capstone is a short 30-page volume within the ‘Girlhood Diary’ educational series.

This article is a slightly revised version of one first published on 27 June 2016.

Sir Haggard’s diaries

Sir Henry Rider Haggard, the British author of many an adventure story set in colonial Africa, often in sympathy with the native populations, was born 170 years ago today. He may have kept a private diary when younger, but the only diary extracts to have been published - Private Diaries and Diary of an African Journey - date from the last decade of his life. In the latter book, Haggard records an interesting conversation with the wife of South Africa’s first Prime Minister about the country’s future.

Haggard was born into a large family, in Norfolk, England, on 22 June 1856. His father was a barrister and his mother a writer. He was schooled at Ipswich Grammar, and then in London to enter the Foreign Office, but he never sat the necessary exams. Instead, in 1875, his father sent him to South Africa to work for his friend, Sir Henry Bulwer, Lieutenant-Governor of the Colony of Natal. By 1878, he had secured himself a job as registrar of the High Court in the Transvaal. In 1880, he returned to England briefly, and there married Marianna Louisa Margitson with whom he had one son (who died young), and three daughters.

The family left South Africa in 1882, and settled in Ditchingham, Norfolk. Haggard turned to the law and was called to the bar in 1884, but, by then, he was more interested in writing novels. His most famous work, King Solomon’s Mines, was published in 1885, and other stories based in Africa followed, most notably She, which has become, according to Wikipedia, one of the best-selling single-volume books of all time. Also according to Wikipedia, his novels portray many of the stereotypes associated with colonialism, ‘yet they are unusual for the degree of sympathy with which the native populations are portrayed.’

Although Haggard failed to get elected to Parliament in 1895, he became involved with reform in the agricultural sector, sitting on land use commissions, and occasionally travelling to the colonies. Apart from his many fiction works, he wrote several non-fiction books, including Rural England (1902) and an autobiography (The Days of My Life, 1926). He was knighted in 1912 and made a KBE in 1919. He died in 1925. Further biographical information about Haggard can be found at Wikipedia and Encyclopaedia Britannica. The Days of My Life is available at Internet Archive or at Project Gutenberg Australia.

From the start of the First World War (until his death), Haggard kept a detailed diary. This was edited by D. S. Higgins and published by Cassel in 1980 as The Private Diaries of Sir H. Rider Haggard, 1914-1925. According to Kirkus Reviews, the published extracts (only some two per cent of the total diaries) make for ‘a live and affecting document’; however the impression the journal leaves is of ‘a fragile, worn-out relic from a bygone era’. Morton N. Cohen, author of Haggard’s biography for the Oxford Dictionary of National Biography (log-in required) is less generous: ‘[The diary] is, sadly, the account of a sour old man who sees himself betrayed by fate, a disillusioned imperialist with authoritarian, racist leanings, who ranted against the Jews, communists, Bolsheviks, trade unionists, the Irish, and Indian nationalists (the editor of his diaries omits from the published text most of Haggard’s harangues).’

The full work can be digitally borrowed from Internet Archive. Here are two extracts.

22 June 1921

‘By the lake side, Blagdon. Again my birthday. I am now 65! Alas how swiftly the years go by and I sink into old age. Disguise the truth as one will, it remains a melancholy truth that for me middle age has followed youth into the limbo of the past leaving at best but a few short years of life to be travelled before the last eclipse. Every year my friends grow fewer. Of the small number who still write to me upon my birthday my sister Ella was always one. And Ella has gone whither soon all of my generation must follow her.’

30 March 1917

‘I said to Kipling at the Athenaeum today that I trusted that we should not be expected to inhabit that region in the next world which was occupied by Germans. He replied that he was quite convinced that we should find none in any hell that he and I might land in. I think so too; whatever our sins we have not deserved that!

Rudyard Kipling and Martin Conway¹ were lunching together. Afterwards Conway came into the billiard room downstairs and informed me that Rudyard Kipling had been talking with admiration and amazement of the MS. of the story Yva, which I had given to him to read, saying that it was as full of go and imagination as though I had been sixteen instead of sixty.

Later Rudyard turned up and repeated this and more. He said to me that he had read the whole thing at a sitting ‘interlineations and all’, really read it, and that its grip and ‘freshness’ astonished him. He lay upon a sofa with those slippery sheets before him, unable to leave it, and thought it a remarkable work of imagination - really a new thing. I asked him if he had any criticisms to make. He said that he would not venture to offer any - there was the work - in a way outside of criticism - as good as anything I had ever done - or words to that effect. Evidently too, he meant all he said. This from such a man is complimentary, especially as he is not prodigal of compliments, but I am sure that when it appears the public - or rather the critics - will not discover these virtues in the book. It is not their fashion to praise my work. However, I am glad that the tale pleases its first reader so completely. The truth is that he (Kipling) has imagination, vision and can understand, amongst other things that Romance may be the vehicle of much that does not appear to the casual reader.’

Haggard also kept a diary earlier in his life, although how often is not clear. In 1899, Longmans, Green & Co published a farming diary for the year 1898, A Farmer’s Year (freely available at Internet Archive), and, in 1905, it published A Gardener’s Year (Internet Archive). Both books have diary-like entries, though they were written by Haggard as information books with publication in mind. In 2001, C. Hurst, by arrangement with the University of Natal Press, South Africa, published Diary of an African Journey (1914), as edited by Stephen Coan. Some pages of this can be viewed at Googlebooks (the source of the following extracts). Also, it’s worth noting that Haggard mentions - albeit only a couple of times - a diary in his autobiography.

7 March 1914
‘On this day, together with a number of other people, we were invited by the government to what might be termed a ‘joyride’ round Table Mountain. For one of our party, Mrs. Tatlow, it proved nothing of the sort. The motor she was in collided with another. She was thrown or fell out and has been left behind in bed at the Queen’s Hotel (I write this at Oudtshoorn) suffering from something like slight concussion. We lunched in a tent at the famous house of Groot Constantia. This place was granted in 1684 to Van der Stel, who was the next governor to Van Riebeeck. He built the house and began to cultivate the vines from which the well-known wine Constantia was made. Its last owners were the Cloetes who sold it in 1885 with 280 acres of land to the government for the small sum of £5 500. Since that time the state could have done well on their bargain if, as I was informed by the manager, they refused an offer for it of £28 000. Here there are 103 acres under vines and 56 under fruit trees. The house with its large cool rooms all adorned with ancient and appropriate furniture is really beautiful.

At luncheon which was given in a tent I sat next to, and had an interesting conversation with, Mrs. Botha, who expressed herself as very pleased that I agreed with her husband, the Prime Minister [Louis Botha], as to the uselessness of attempting to emigrate poor white folk to South Africa when already there were enough of them. Such people, unskilled and resourceless, she said, would come right up against the competition of the native, and their exclusion, which in some quarters was set down to race feeling, was really in their own interests. The only openings were for farmers with some capital, a scarce class. We discussed the outlook of the white inhabitants of South Africa in the future and both agreed that it seemed very doubtful - chiefly because of this native question. The native could no longer be suppressed, or even oppressed: he must follow his destiny and often he was an able and a competent person. In practice South Africa must face the fact that all it has to rely on, so far as the whites are concerned, is its present population and their progeny. But here came the trouble - the restriction of population (i.e. race suicide) is creeping in, even among the Boers, except quite in the backveld districts where it would reach ere long. One no longer saw the large families of 30 years ago: they grew smaller and smaller. Moreover those who were growing up, for some subtle reason, in enterprise, in virility and femininity in their widest sense, were not the men and women of the stamp of our generation. She had often said as much to her own children. What was to be the end of it? She could not tell but the future was dark and dubious. Perhaps at last South Africa would be the heritage of the black races with an admixture of white blood. The danger of war between whites and Bantu had gone by, but there were other dangers. Thus what I saw on the previous day, white man and black, working side by side was one of them: it meant the approach of equality. Once that was established how could the dwindling white people hold their own against an increasing race, already four or five times as numerous?

She said it was hard work for a man like her husband to be Prime Minister of the Union in these days and hard for his wife also. It was both exhausting and difficult to deal with politics continually and keep his hands quite clean. We both agreed that time and experience were wonderful softeners of strong views. Thus today I should not write another Jess and she would not think about the English as she had thought even a dozen years ago. She told me that although it seemed a strange thing for her to say, the deportation of the captured Boers had been a very good thing for the people. The sight of other lands had opened their minds and made them more progressive; also they had learnt what the British Empire meant. Such is a summary of this enlightening talk made from notes taken that evening, and I think one that is accurate, although compressed. Mrs. Botha struck me as an able woman in a quiet way and I liked her very much.’

10 March 1914
‘Woke up lo find that we were running over bush-clad sourveld with a few ostriches wandering round lonely Boer steadings. While I was dressing the iron lid of the washbasin fell on and crushed the top plate of the false teeth which were recently fitted with so much discomfort. A most annoying incident. Luckily I have the old temporary set with me which the dentist wanted to destroy.

At lunch time we came to a range of mountains called Outniqiua, or some such name, that tower above a little township of about 2 000 inhabitants, called George, which is largely inhabited by retired persons in search of quiet. The situation is fine on a flat plain dominated by tall grassy peaks down which run waterfalls that look like lines of wandering silver. At the beginning of the pass we went through government plantations of gums [eucalypts] of about 10 years of age which are doing splendidly. There are several of these here. Next we passed through some native bush in the kloofs, then came broom, heather and bracken, clothing the broad hill shoulders. From the crest of the pass the view was grand. The flat plain below diversified with plantations surrounding the scattered town of George and in the distance the great sea. All this district might be afforested, the hills with pines and the plains with gums. As the land seems to be worth no more than 10s. an acre it would be an excellent purpose to which to put it. About 4 o’clock we entered the Oudtshoorn valley, a hot and fertile place surrounded by hills, and everywhere saw ostriches feeding on lucerne in their wired camps.

On arrival we were met by the mayor and notables and taken off to see the farm of Mr. John le Roux where, after 34 years or so. I renewed my acquaintance with that ungainly but profitable fowl, the ostrich. By the way, at the station a gentleman whose name I think was Rex came up and asked me if I remembered him - as I did not he produced from his pocket an official order of the Pretoria High Court, written and signed by myself in 1878, appointing him a sworn interpreter. I wonder if he always carries it about with him. I was glad to see that the order was properly drawn and written in a better hand than I can boast nowadays. The signature, however, is identical with that I use at present.’

This article is a slightly revised version of one first published on 22 June 2016.

Sand's Journal Intime

George Sand, the famous French writer, cigar smoker and lover of artists, died 140 years ago today. A hard working and prolific author of novels, she also wrote plays and an autobiography. Her commitment to the diary form was, however, intermittent. Nevertheless a collection of her personal writings, under the title Intimate Journal - taken from the French Journal Intime - were published in English in 1929, and have been reprinted several times since then.

Amandine Aurore Lucie Dupin was born in 1804, in Paris, and educated at Nohant, her grandmother’s estate, and at a convent in Paris. In 1821, she inherited Nohant, and a year later married Casimir Dudevant. In 1831, though, she left Nohant and her husband and went, with two children, to Paris. The same year she published a first novel, Rose Et Blanche, written in collaboration with Jules Sandeau, from whom she took her early pen-name (Jules Sand), and articles in Le Figaro. Her second novel Indiana, in 1832, written under the pen-name George Sand, brought her near instant fame. It told of a naive woman abused by an older husband and deceived by a selfish seducer.

Thereafter, Sand became a celebrity of sorts, famously dressing in men’s clothes much of the time, and having many love affairs, the most famous of which was with the composer Chopin. Her novels, and there were many, were largely romantic, with the heroes often workmen or peasants, living in the countryside of her childhood near Nohant. They were also often autobiographical, coloured by whoever she was involved with at the time, and overtly romantic with love usually conquering obstacles of class and convention.

Sand’s later years were lived at Nohant, comfortably in a relatively stable relationship with a younger artist, Alexandre Manceau, though he died in 1865, ten years before she herself died on 8 June 1876. Further biographical information is available at Wikipedia, Notable Biographies and NNDB. There are also a couple of biographical works freely available online: George Sand - Some aspects of her life and writings by Rene Doumic and translated into English by Alys Hallard in 1910 (Internet Archive or Full Books); and George Sand by E. Caro in 1888 (Internet Archive).

Sand was not a committed diarist though she did leave behind some diary writing in the form of letters addressed to lovers and occasional musings on her intimate relations and on her own shortcomings. These were collected together and first published but Williams & Norgate in an English translation in 1929 as The Intimate Journal of George Sand (edited and translated by Marie Jenney Howe). It has been reissued several times since then - see Googlebooks for a 1977 version by Cassandra Editions, or Chicago Press Review for a 2000 edition.

There are also the diaries - not translated into English as far as I know - that were kept by Manceau. Evelyne Bloch-Dano, author of The Last Love of George Sand: A Literary Biography (translated by Allison Charente, Arcade Publishing, 2013) explains: ‘George Sand had kept a periodic journal during key moments of her life, more to organise her thoughts than to keep a precise record of her days. She lived too much in the present to feel the need. Alexandre [Manceau] decided to record his lady’s activities, meetings, readings, works, and promenades every day, until his death. At first the Diaries were written in the first person, as if Sand was dictating them, but they morphed into the third person after a few weeks. Marceau would also make personal notes throughout the entries, creating an entirely separate character. The Diaries were his own work, even if George added her own details from time to time or occasionally took up the pen in his place.’

The following extracts are taken from the original 1929 edition of The Intimate Journal of George Sand.

1 June 1837

‘I awakened feeling dull. Piffoël’s sleep was disturbed by elusive desires that floated in a pale mist of dreams. The weather is neither cheerful nor depressing. It makes me restless. The trees are tossed by gusty, fantastic wind. The sun is hidden. If I put on my dressing-gown I am too hot, if I take it off I am cold. Leaden day in which I shall accomplish nothing worth while. Tired and apathetic brain! I have been drinking tea in the hope that it would carry this mood to a climax and so put an end to it.

No letter from Everard to-day. He is angry again. Happy man, to find anything worth getting angry about!

Before going to bed. From midnight until one o’clock I explained to Duteil the theory of dissatisfaction with life. I was indignant because he tried to make me believe he is happy every day and almost every hour of the day. Isn’t it exasperating to be treated as a fool by people who do not suffer?’

2 June 1837

‘Late at night. Piffoël walked twelve miles to-day. As soon as life becomes bearable we stop analyzing it. A tranquil day is spoiled by being examined. Shall we always be guided by feeling which distorts our ideas and impressions? Excessive emotion is like cross-eyed vision whose errors our reason tries feebly to correct.’

12 June 1837

‘This evening, while Franz was playing fantastic melodies of Schubert, the Princess walked in the shadows that fall across the terrace. She was wearing a dress of indefinite color. Her head and tall, slender body were swathed in a long white veil. As I watched her move back and forth with a light tread which scarcely touched the ground, the circle she described was cut across by rays from my lamp around which all the moths of the garden were dancing a delirious sarabande. The moon behind the lindens threw into high relief black specters of pine trees that stood immobile in the blue-gray air.

Over the flowers and plants a profound calm reigned. At the first harmonies from the divine instrument the breeze languished, then, falling exhausted on the tall grasses, slowly died. A nightingale had drawn near in the shadows of the foliage and, like the excellent musician he is, had caught the measure and tuned his own ecstatic throat in harmony with the music. He sang on, but as though he had become conscious of rivalry his voice became timid and withdrawn.

We were seated on the steps, listening to strains of the Erlkoenig. As the prelude gave place to the heartbreaking refrain, we sank into the mood of surrounding nature and were engulfed in melancholy enjoyment. And we could not take our fascinated gaze from the magic circle traced before our eyes by the mute sibyl in white. When the music, in a series of sad modulations, merged into tender melody, her steps grew slower.

From that time onward her pace kept the rhythm of the andante and the maestoso, and her movements showed such marvelous harmony that it was as if the music flowed from her as from a living lyre. Slowly she crossed the lamp-lit space, her white veil forming delicate, distinct contours on the dark background of the picture, while the rest of her was obliterated as it floated into the mystery of night. After a moment she drew near out of the dusk, as if she meant to alight on the white lilac. But, fugitive as the shadows, she slowly disappeared. She did not seem to withdraw under the dark foliage, it was rather as though darkness laid hold of her and drew her into its depths by thickening the curtain of shadows. At the end of the terrace she was completely lost in the pines, to reappear suddenly in the rays of the lamp like some spontaneous creation of its flame. Again she withdrew and floated, vaporous and pale, against the light. Finally she became visible and seated herself on a pliant branch, which supported her weight as though she had been a phantom. Then, as if bound by some mysterious tie to this pale, beautiful woman, the music stopped.

Rising, she glided by an inscrutable mounting movement toward the top of the steps and disappeared into the shadowy hall. A moment later we saw a veritable châtelaine of the middle ages cross the adjoining hall under the light of the candles. Her blond head shone like an aureole, and her veil, thrown over her shoulders, followed cloudlike the light and rapid motion of her flying figure.

The fingers straying across the piano were silent. The lights went out. The vision receded into the night.’

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

Thoughts, epiphanies, poems

Today marks the centenary of the birth of Allen Ginsberg, one of the most prominent members of the so-called Beat Generation, which also included Jack Kerouac and William S. Burroughs. Unlike Kerouac, whose diaries were not published until long after his death - see The rush of what is said - Ginsberg published several volumes of journals during his lifetime. Ginsberg himself, however, described them as ‘thoughts, epiphanies, vivid moments of haiku, poems, but not a continuous diary of conversations like Virginia Woolf, or Anais Nin, or Boswell.’

Ginsberg was born on 3 June 1926 into a Jewish family in Newark, New Jersey, though he grew up in Paterson, 15 miles further north. His father was a published poet and teacher, and his mother a communist and unstable depressive. He attended Columbia University on a scholarship from the Young Men’s Hebrew Association of Paterson. There he met William Burroughs and Jack Kerouac, all later to be pivotal figures of the beat movement. Their behaviour was generally considered wayward, not least because of dabbling with drugs. By 1948, his last year at Columbia, Ginsberg had decided to become a poet, supposedly thanks to hearing the voice of William Blake in a vision. The following year, he spent several months in a mental institution as a consequence of pleading insanity when stolen goods were discovered in his dorm.

In late 1953, Ginsberg travelled to Mexico, and then settled in San Francisco. He fell in love with Peter Orlovsky, also a poet, who would subseqently remain his lifelong partner. In 1955, inspired by a poem by Kerouac, he wrote the long poem Howl which he performed at a reading he organised - Six Poets at the Six Gallery (known now as the Six Gallery reading). The poem, full of raw language and acceptance of his own homosexuality, would bring him world attention, not least because it was the subject of a failed obscenity charge. During the trial, Ginsberg and Orlovsky moved to Paris, living off the royalties from Howl and a disability pension that Orlovsky collected as a Korean veteran. For a period, they went to Tangier to stay with Burroughs who was working on, what would become, Naked Lunch.

In 1958, Ginsberg returned to New York City, troubled by his mother’s death two years earlier in an asylum. There he wrote what is considered his best work - Kaddish for Naomi Ginsberg, an elegy for his mother based on a traditional Hebrew prayer for the deceased. Thereafter, he continued experimenting with drugs, and travelling widely, most significantly in India where he sought out holy men, remaining for the best part of two years. Having turned to Buddhism, he wrote, in Japan, The Change, about how meditation rather than drugs would help him towards enlightenment. Back in New York City, he befriended A. C. Bhaktivedanta Swami Prabhupada, the founder of the Hare Krishna movement, helping him with money, organisation and contacts. By this time, he was also incorporating chanting and music (he had acquired a harmonium in India) into his poetry readings.

In the mid-1960s, Ginsberg became strongly associated with the hippy and antiwar movements, and is credited with creating the idea of ‘flower power’, using positive values, peace and love, in demonstrations. He was constantly at odds with the establishment. In 1965. he was asked to leave Cuba and Czechoslovakia by their respective governments. At home he was arrested at various demonstrations, and, in 1972, was jailed in Miami for protesting against President Richard Nixon. A few years later, he was arrested with Orlovsky for sitting on train tracks to try and stop a train loaded with radioactive waste.

In his later years, Ginsberg was a public figure, the archetypal Beat Generation writer. Despite increasing health problems, he continued to publish steadily and travel often, giving readings across the globe. He died in 1997 - for more biographical info see Wikipedia, Allen Ginsberg Project, Poetry Foundation, American National Biography Online, or various obituaries (New York Times, for example, or The Independent).

Ginsberg began using notebooks in childhood, collecting source material for poetry and prose, and for drafting poems. Anansi, in Toronto, published a first selection of extracts in 1968, 35 pages worth, under the title Airplane Dreams: Compositions from Journals (described as ‘not exactly poems, nor not poems’.)  This can be digitally borrowed from Internet Archive.

Two years later, David Halewood Books and City Lights Books jointly published Ginsberg’s Indian Journals (describing, in prose and verse, his drug-induced experiences in the sub-continent). Grove Press brought out, in 1977, Journals: Early Fifties, Early Sixties, as edited by Gordon Ball. And nearly 20 years later, but still with input from Ginsberg himself, HarperCollins issued Journals: Mid-Fifties, also edited by Gordon Ball (1995).

According to Ball’s introduction, the printed text of the last book of journals draws on material entered by Ginsberg in twelve notebooks (and related separated pages) from June 1954 through mid-July 1958. Though presented as a single entity, he says, the editing has involved considerable interleaving between one journal and another, and sometimes yet a third; and both Ginsberg and Gordon Ball ‘lightly pruned and shaped’ the text.

The book also contains a few pages dictated by Ginsberg in 1984 (many journal notes were similarly dictated) which have been presented under the title: ‘Meditations on Record Keeping by Poet’. In these meditations, he describes how he was aware of a ‘historical change of consciousness and some kind of cultural revolution’, and how there was a contest between further liberation or 1984 authoritarianism. He felt he needed to record this in some way, and mentions some of society’s troubles (censorship, drugs, a growing military budget). He then says: ‘I saw all that at stake and thought best to keep a record: in my own writing but also just sort of an archive. So after I milked the notebooks for poems, I just kept hold of the notebooks for whatever I had in it, though I didn’t keep like a historical record of conversations - that wasn’t my function; I thought Kerouac had done that, historical record of scenes, conversations, characters, and persons. He had covered that and I couldn’t possibly compete with him; the best I thought I could do was just keep a record of my own changes of self-nature and perceptions - you know, intermittent perceptions, spots of time. So my notebook is thoughts, epiphanies, vivid moments of haiku, poems, but not a continuous diary of conversations like Virginia Woolf, or Anais Nin, or Boswell.’

Here are samples from two dated extracts in Journals: Mid-Fifties (though the vast majority of entries are undated, and many are poetry rather than prose).

31 March 1955
‘Tiring of the Journal - no writing in it - promotes slop - an egocentric method.

Life’s quiet finally, no love, another plane, after-hours from the office, struggle completed (high tonite on terpinhydrate of codeine), music, rugs, a lousy room and evening robes in which to read, a typewriter.

Lately in revising I’ve noticed a tendency - revising year pile of notes - to adjust the notes to small groups of lines as in 3-line stanza, begun however before reading the Williams late forms - the division being by active words, number of active words in phrase.

“the sad heart of August dies”

the nouns & verbs have a single weight, the adjectives usually less unless strong words or long ones. Count mainly by eye. But requirement of regularity of some lines is a clarity I find apparent lately, so that the notes don’t present themselves totally amorphous. The lines are not yet free enough - for this reason the concentration process is useful again in order to get a sense of measuring small lines - with later possibility, the expansion to a large form with lines distributed over the page

but equal, each parallel indentation equal or equivalent

So that the structure has a structure at least as an excuse for its form

following, as we might guess, the given possibilities of lengths of speech mind-think lines - there will probably be a select number to recognise & distinguish, the double:

and the triplet
“fantastical physical
images
Neal’s naked breast” ’


21 December 1956
‘Strange faces in the subway - the minute I sat down I realized I had power to see them straight in the eye and dig the eternal moment’s mask - as they ride by dreaming rocked in the dark with neon on their faces.

The 59th St. stop - recollecting Burroughs and Lucien, Columbus Circle, IRT Station, the dark pavement and endless outpouring of students and ballet dancers and musicians and fairies on this platform, waiting in their youth for life to begin - while I come back here dead (for the fourth time), disconnected. The new IRT B’way train - brighter and shinier - futuristic 1930s air conditioning aluminum big flowers growing out of the roof - parkay tile floors, glassy lights, shining steel poles to hold on to, even the people seem cleaner and richer - and the seats so nice and soft, red cushions.

A man with a notebook in front of me making notes for an ad. My own rusty (gaudy) book.

Beside me a fat well-dressed little kid bow tie, bright Jewish eyes, ass-length salt and pepper jacket - he don’t work on nothing, just lies in bed and eats ham in the morning. And gets up to ride the subway showing off all afternoon, at nite he goes back to supper and eats huge pork chops with lots of greasy potatoes and peas.

Approaching 116 St. Columbia Stop.’

This article is a slightly revised version of one first published on 3 June 2016.

Win the world or to reject it

‘The best thing that occurs to me is a kind of diary . . . I mean, it wouldn’t be letters or an ordinary diary. It could be divided into two or three parts. One dedicated to love, the other to anxiety, the third to, mon dieu!, here already would be the issue of making up your mind, of choosing: either to win the world or to reject it.’ This is from the diaries of Alejandra Pizarnik an Argentinian poet born 90 years ago today. She lived in Paris for a while and associated with avant-garde literary figures before returning to BA. Suffering from mental issues, she committed suicide in her mid-30s.

Alejandra Pizarnik was born on 29 April 1936 in Avellaneda, a port city in the province of Buenos Aires. The daughter of Jewish immigrants from Eastern Europe, she grew up in a Spanish-speaking household marked by cultural displacement and personal insecurity, later recalling difficulties with speech and self-image. Educated in Buenos Aires, she studied philosophy and literature at the University of Buenos Aires but did not complete a degree. During these early years she began publishing poems and moved in avant-garde literary circles, influenced by French symbolism and surrealism as well as by writers such as Arthur Rimbaud and Antonin Artaud.

In 1960 Pizarnik moved to Paris, where she lived until 1964, working for journals and publishers while deepening her literary connections. There she associated with figures including Julio Cortázar and Octavio Paz, the latter writing a prologue to one of her books. Her poetry matured rapidly in this period, marked by compression, intensity, and recurring themes of silence and absence. After returning to Buenos Aires, she continued to publish and gained recognition as a distinctive poetic voice in Latin American literature.

Pizarnik’s principal works include La tierra más ajena (1955), La última inocencia (1956), Las aventuras perdidas (1958), Árbol de Diana (1962), Los trabajos y las noches (1965), Extracción de la piedra de locura (1968), and El infierno musical (1971). Alongside poetry she wrote prose pieces and essays, though her reputation rests chiefly on her short, intense lyric output. Her life was marked by recurring psychological difficulties, periods of institutional treatment, and a persistent preoccupation with death and identity. She died on 25 September 1972 in Buenos Aires, aged only 36. Further information is available at Wikipedia, Encyclopaedia Britannica, The Poetry Foundation, and Princeton University.

Pizarnik kept diaries from her late adolescence, beginning in the mid-1950s. Written in notebooks, the diaries are not conventional narratives but fragmented, self-analytical texts in which she explores language, creativity, solitude, and despair. They document her reading, literary ambitions, and relationships, while also revealing the intensity of her inner life; many entries read as drafts or extensions of her poetry rather than private reflections. The Paris years are particularly rich, combining artistic aspiration with acute isolation, while later entries become increasingly spare and troubled.

The diaries were published posthumously in Spanish, edited by Ana Becciu, notably in Diarios (Lumen, 2000), later expanded in subsequent editions - see Penguin Random House. These volumes, running to well over a thousand pages, draw on manuscript notebooks now held in archival collections. There is no complete English translation; instead, selections have appeared in journals and anthologies, with occasional standalone excerpts translated for literary magazines and the like: Tumblr (the source of the extracts below), Music & Literature, Liverpool University Press, and Muses.

5 July 1955

‘Thinking about literary work.

The best thing that occurs to me is a kind of diary directed at (we suppose, Andrea). I mean, it wouldn’t be letters or an ordinary diary. It could be divided into two or three parts. One dedicated to love, the other to anxiety, the third to, mon dieu!, here already would be the issue of making up your mind, of choosing: either to win the world or to reject it.

No! I won’t be able to do it because of my heart with two faces. (Today I accept something, tomorrow reject it.) It would be a question of writing it all in one night. Impossible!

(Let’s continue making poems.)

I inherited from my ancestors the desire to flee. They say my blood is European. I feel that every drop originates from a distinct point. From this nation, that province, this island, that gulf, accident, archipelago, oasis. From every piece of land or sea they stole something and so formed me, condemning me to the eternal search for a place of origin. With my outstretched hands and my wounded bird babbling and bleeding. With my lips expressly drawn to utter complaints. With my forehead crumpled by doubts. With my eager face and messy hair. With my trailer without brakes.

With my instinctive hatred of prohibition. With my black breath got by endless crying. I inherited a hesitant step meant to keep me from ever being firmly nationalized anywhere. Everywhere and nowhere! Nowhere and everywhere!

(Today a fellow student in my French course told me that in Paris “there is a lot of degeneracy” because she’d been told that couples in love kiss on the street “in public!”.)

I think people like that make life even harder. And this without saying what those same people do when they’re not “in public”. And these people are “society”. The representatives of order, rectitude, morality. Morality! The morality they establish to their criteria and without any right to. And we are the exiled, the rejected, the spiritual syphilitics! As if our very faces emitted putrid stuff. As if we don’t deserve the innocent blue sky covering us, behind which sits God, fountainhead of imaginary narrow-mindedness and meanness.

God!, who if he exists is limited in his employment to the cover of the Civil and Penal code. I don’t care about proving something as vulgar as the existence of God, because I’m satisfied with feeling my own being. The Civil Code doesn’t matter except to the extent that it dirtied my soul when I made that pilgrimage for it during my first years. I want to erase their filthy stains! Leave my bird glossy! (Like a piece of propaganda for infinite beauty.)

One of the questions I can’t answer: “But. . . where have you come from you who are like this?”

(Right now I feel like the product of a cross between the Minotaur and an embittered Martian.)

Buenos Aires is like the sewing basket of a dressmaker who’s worked in the profession for thirty years. Every time she wants to find the golden thread she’s inevitably hurt by countless pins whose existence she didn’t notice.

To live like Jarry! Mme. De Beauvoir would talk to me here about my situation as a woman. To want to live like Jarry when it isn’t possible to spend a single hour in a café without two worms springing forth every minute to disturb the life this poor female is trying to develop!’

19 July 1955

‘What is it that matters in an action, its content or its form?

Alejandra: you have forty days of unspeakable anguish. Forty days of suffocating loneliness with no chance of confession. With no beloved face to complain to of the misfortune attached to your fate. Alejandra: that beloved face is only one and it has left. It’s as if they’d ripped everything from you. It’s as if they’d submerged you in the cold sum of the days so that you might be shocked into trying to forget its absence. Alejandra: you must fight terribly. You must fight yourself and this notebook. You must fight both, because your beloved’s eyes say if not all will be lost. Perhaps there will be something still to save! What? questions! Your soul, Alejandra, your soul!

Plans for forty days: 1) Begin the novel. 2) Finish Proust. 3) Read Heidegger. 4) Don’t drink. 5) No violent actions. 6) Study grammar and French.’

William Godwin’s diary

The English writer and philosopher William Godwin, an early proponent of idealistic liberalism, died 190 years ago today. He is, perhaps, better remembered for his daughter, Mary, who married the poet Percy Shelley and wrote Frankenstein. Godwin kept a diary throughout his life. Although the daily entries are little more than lists of names and places and books read, the diary as a whole is considered of ‘immense importance to researchers of history, politics, literature, and women’s studies’.

Godwin was born in 1756 in Wisbech, Cambridgeshire, into a large family of religious dissenters. Educated into a strict Calvinism, he finished his schooling at the Hoxton Academy, and served as minister in several places before returning to London. But by then he had shed his religion in favour of an idealistic liberalism based on the sovereignty and competence of reason to determine right choice. In order to further his new ideas, he set out on a writing career, contributing to political journals and associating with radical societies. He also tried setting up a school, and writing novels, though these early ventures did not come to much.

In 1793, Godwin published Enquiry concerning Political Justice, and its Influence on General Virtue and Happiness - now considered his greatest work - setting out his positive vision for an anarchist society of small, decentralised communities. After the writings of Edmund Burke and Thomas Paine, it was one of the most influential responses to the French Revolution. He followed this with a (hugely successful) novel - Things as They Are; or, The Adventures of Caleb Williams - which some consider the first ever thriller. In 1795, Godwin and Mary Wollstonecraft, who he had first met some years earlier and who now had a daughter, became intimately involved. She fell pregnant by Godwin, and the two married in London in 1797. Mary Wollstonecraft Godwin was born within a few months, but her mother died ten days later.

That same year, 1797, Godwin published a collection of essays entitled The Enquirer; and he wrote a biography of his wife, published as Memoirs of the Author of a Vindication of the Rights of Woman (though it was not very well received for being too revelatory). After producing a third and final edition of Political Justice, he turned to literature and history, trying his hand at plays, another novel and a life of Chaucer. In 1801, he married his neighbour Mary Jane Clairmont, who brought two children into the household (in addition to Godwin’s daughter and step-daughter). However, she proved an ill-tempered stepmother and was inhospitable to some of Godwin’s friends. This union produced a son for Godwin, David, who went on to become a journalist but died young from cholera.

In 1805, to secure a better financial situation, the Godwins, with help from friends, began running a children’s bookshop. Godwin wrote a variety of books - fables, histories, dictionaries - for the shop, while his wife saw to the business end, and translated books from French. In 1812, Godwin became a kind of mentor to Percy Shelley, who then visited the house often, and who provided much needed funds (borrowed against his future expectations) in support of Godwin and his family. In 1814, however, Shelley eloped with Godwin’s 16-year-old daughter Mary to the Continent. They returned to England and married in 1816 (after the death of Shelley’s first wife). Only a couple of years later, Mary Shelley’s book Frankenstein, dedicated to Godwin, would be published.

The most notable publications of Godwin’s later career were Of Population, a belated attempt to refute Thomas Malthus’s 1798 An Essay on the Principle of Population - itself a response to Godwin’s ideas (see more on Malthus’s diary at The cost of men and food); History of the Commonwealth of England, from its Commencement to the Restoration of Charles II in four volumes; and Thoughts on Man, his Nature, Productions and Discoveries. Godwin died on 7 April 1836. For more information see Wikipedia, Stanford Encyclopaedia of Philosophy, or University of Oxford podcasts.

Godwin kept a diary for most of his life, leaving behind 32 octavo notebooks now held by the Abinger Collection of manuscripts in the Bodleian Library, Oxford. Although each diary entry - 1788-1836 - is no more than a short list of names, places etc., and often no more than a few words, the entire text has been considered important enough to be fully digitised, analysed and uploaded to a dedicated website hosted by the Bodleian.  This was funded, between 2007 and 2010, by the Leverhulme Trust and others under the direction of Oxford’s David O’Shaughnessy and Mark Philp and Victoria Myers from Pepperdine University, California.

According to the project: ‘The diary is a resource of immense importance to researchers of history, politics, literature, and women’s studies. It maps the radical intellectual and political life of the late eighteenth and early nineteenth centuries, as well as providing extensive evidence on publishing relations, conversational coteries, artistic circles and theatrical production over the same period.  One can also trace the developing relationships of one of the most important families in British literature, Godwin’s own [. . .]. Many of the most important figures in British cultural history feature in its pages, including Anna Barbauld, Samuel Taylor Coleridge, Charles James Fox, William Hazlitt, Thomas Holcroft, Elizabeth Inchbald, Charles and Mary Lamb, Mary Robinson, Richard Brinsley Sheridan, William Wordsworth, and many others.’

The website offers - freely - an image of every page and a transcription of the text. Moreover, for every person, place, publication, play, meal etc. mentioned in the diary, there is a link to further detailed notes and collated lists of other mentions in the diary of the same subject. Often times, nearly every word of a diary entry is a highlighted link to further information. An introduction to the website can be found here, and an example of how the diary has been used can be seen at the Shelley’s Ghost exhibition website. (See also Write. Read Homer about Mary Shelley’s diaries.)

Although they make little sense divorced of the links and explanations provided by the William Godwin Diary website, here are a few examples of Godwin’s diary entries.

8 March 1790
‘House of Commons: Tobacco act, Capt. Williams’s Petition, Quebec’

13 November 1791
‘Correct. Dyson & Dibbin call; // talk of virtue & disinterest. Dine at Johnson’s, with Paine, Shovet & Wolstencraft; talk of monarchy, Tooke, Johnson, Voltaire, pursuits & religion. Sup at Helcroft’s:’

28 July 1792
‘Write 2 pages, on prosperity. Finish Merchant of Venice: Much Ado, 3 acts. Miss Godwin at tea.’

23 August 1792
‘Walk to Rumford, 3 hours: stage to town, breakfast at miss Godwin’s: dine at Mr Marshal’s. See Cross Partners’

4 February 1795
‘Call on mrs Jennings: tea Johnson’s, Kentish Town.’

9 July 1795
‘Breakfast at Buckingham: dine at Watford: tea Fawcet’s, Hedge Grove, sleep: see Wilson, Smith, &c.’

7 September 1808
‘Church-yard: walk to Thatcham: dine at Woolhampton: tea Theal, sleep. George Dandin.’

10 April 1816
‘Dine at Darlington: pass Durham: sleep at Newcastle—intelligent bailiff, pleasing gentleman, Cumberland farmer.’

27 April 1816
‘Breakfast at Carlisle: coach to Penrith: chaise along Ulswater: dine at Wordsworth’s: call, w. him, on Jackson; adv. Wakefield: circuit of Grasmere. Derwent Coleridge dines: write to M J & Thos Moore.’

1 November 1830
‘Essays, revise. Homer, v. 395. Museum; Du Bartas: theatre, Henry V. 60 / 65’

This article is a slightly revised version of one first published on 7 April 2016.

Something of myself

The English writer Rudyard Kipling, who died 80 years ago today, left behind a treasure of much-loved stories and poems, such as The Jungle Book, Kim and If. But, he didn’t leave much autobiographical material - hating the idea of biographers churning over his life - and what diary material has survived is thanks to chance rather than purpose: one diary from 1885, when he was working as a journalist in India, and several notebooks he kept while on motoring tours. In addition, and of much use to biographers, are surviving partial transcripts of the daily diary kept by Kipling’s American wife, Carrie, the originals of which were destroyed by the Kiplings’ daughter Elsie.

Kipling was born in Bombay in 1865. He was named after Rudyard Lake in Staffordshire near where his parents had met and courted. Aged five he was taken, with his younger sister Alice, to live with a couple in Southsea, who boarded children of British nationals serving in India, and they remained there for six years. Alice returned to India, while Rudyard was admitted to the United Services College at Westward Ho!. In 1882, he, too, returned to India - his parents lacking the resources to send him to Oxford, and doubting his academic ability to win a scholarship - where his father, in Lahore by this time, secured him a job as assistant editor of a local newspaper, the Civil and Military Gazette, published six days a week. This suited Kipling, whose need to write (journalism, poetry, short stories), apparently, was unstoppable. In the late 1880s, he moved to Allahabad to work for The Pioneer, though was discharged in 1889 after a dispute. He published a first collection of his poems as Departmental Ditties in 1886, and a first prose collection, Plain Tales from the Hills, in Calcutta in early 1888.

Determined on a literary career, Kipling returned to London, visiting Japan and North America on the way. He published several short stories, and a novel, and also took another tour, this one to South Africa and the antipodes. In early 1892, in London, he married the American Carrie Balestier, and they settled in Vermont where their two daughters (Elsie and Josephine) were born. During the next four years, he wrote several books of short stories (not least The Jungle Book and its sequel), a further novel and much poetry. But, in 1896, the Kiplings left the US - partly because of an increase in perceived anti-British feeling and partly because of a dispute with Carrie’s family - to return to England, where they first lived in Torquay, Devon, then Rottingdean and, finally, in a house called Bateman’s in Burwash, Sussex. A third child, John, was born to the Kiplings in 1897. And from 1898, for a decade, the family travelled every winter to South Africa (where they were given a house by Cecil Rhodes) - except for 1899. That year, the Kiplings sailed to America, so Carrie could see her mother, but the journey across the Atlantic was very hard, and Kipling and Josephine both fell seriously ill. Josephine did not survive.

By this time, Kipling was famous. He continued writing short stories and novels, producing Kim and the Just So Stories soon after the turn of the century, as well as songs and poems (such as If, published in 1910). In 1907, after turning down other honours, including a knighthood, he accepted the Nobel Prize for Literature. With the onset of war, Kipling supported the fight against Germany, and even helped his son, who had eyesight problems, get enlisted. However, John went missing within a few weeks, and his body was never recovered. Devastated, Kipling continued to write after the war, but never returned to the bright colourful children’s stories he had once so delighted in; indeed, his conservative and imperialist views fell out of fashion, and his writing too. He died in London on 18 January 1936. His ashes were buried in Westminster Abbey’s Poets’ Corner, next to the graves of Charles Dickens and Thomas Hardy. Further information can be found at Wikipedia, The Kipling Society, the BBC, Encyclopædia Britannica or The Poetry Foundation.

Kipling was apt to destroy many of his personal papers, disliking the idea of biographers churning over his life; his wife, Carrie, and daughter, Elsie Bambridge, took a similar view. Only a few diaries kept by Kipling have survived by chance: one from when he was young in 1885, and a set of notebooks he kept while on motoring holidays later in his life. Carrie, kept a daily diary from 1892 until her husband’s death. Although the originals were destroyed by Bambridge, two biographers, Charles Carrington and Lord Birkenhead, had already made extensive notes and transcribed parts of the diary. These are held by the University of Sussex’s Kipling archive at The Keep, but The Kipling Society also has copies (and has made them available online, with an index).

Biographers have made good use of the 1885 diary - see Andrew Lycett’s Rudyard Kipling, for example - but the full text can be found in Rudyard Kipling: Something of Myself and Other Autobiographical Writings edited by Thomas Pinney, Cambridge University Press, 1991, available to preview at Googlebooks. (Something of Myself is a rare autobiographical text, started by Kipling in the last months of his life but not properly finished - Carrie edited it for publication.) Here are several extracts of the 1885 diary included in that Pinney edition.

28 January 1885
‘Scraps on Accidents on Indian Railways, The Dynamitard’s attempts at Westminster and Hume’s vegetarianism. About one column altogether. An easy day as far as the paper was concerned; there being plenty of matter in hand and not much proofwork.’

13 February 1885
‘Scrap. Musketry schools. Annotated Prejvalsky’s explorations in Thibet - and rec’d bellew’s Sanitary Report for notes of the week. Typhoid at home went in today: Mem scrap on Rai Kanega Lall and design for town hall must be done tomorrow.’

25 February 1885
‘Sting of yesterday blinded me couldn’t see. Went to hospital Lawrie came over about mid day and looked at it. Attention more occupied by blain of my face. Must come to hospital tomorrow and see how cocaine works. Did not to go office.’

26 February 1885
‘Eye all right. W said it wasn’t and so lost my work for the day - served him right. Went to hospital [?] cocaine and was impressed. To Cinderella in the evening and was impresseder.’

6 April 1885
‘No bank holiday for me. Special of three columns on review. Fine weather at last but I must shut up with a click before long. Too little sleep and too much seen.’

1 May 1885
‘On the road to Kotgur. May day at Mahasu inexpressibly lovely. Lay on the grass and felt health coming back, again. De brath a delightful man. What a blessed luxury is idleness. Eagles and shot at bottles.’

21 August 1885
‘Dinner with Tarleton Young at his chummery. Where met one LeMaistre who is a womans mind small and mean featured. He may be decent enough for aught I know. Usual philander in Gardens. Home to count the risks of my resolution.’

Transcripts of Kipling’s diaries of his motor tours, around 100 pages, are held in the archive at The Keep. The original notebooks were thought lost, at least until found in a dusty drawer at Macmillan (see The Daily Telegraph). Several articles in the Kipling Journal mention or quote from the notebooks, for example see volume 91 dated December 2017,

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

Speaking of The Possessed

‘To London, mainly for another Prime Minister’s dinner party [. . .] I continue to find Mrs Thatcher very attractive physically. Her overhanging eyelids, hooded eyes, are the only suggestion of mystery (a characteristic I like in women). This is Anthony Powell - born 120 years ago today - the British author of A Dance to the Music of Time, making a somewhat surprising confession to his diary. He was not far off 80 at the time, and she was closing in on 60.

Anthony Powell was born in London on 21 December 1905, the son of an army officer. He was educated at Eton and Balliol College, Oxford, and then worked at the publishers Gerald Duckworth and Company for ten years. In 1934, he married Lady Violet Pakenham, sister of Lord Longford. They had two sons, one in 1940 and one in 1946. After leaving Duckworth, Powell did some script writing and some travelling in the US and Mexico. On returning to England in 1937, he lived in London and worked as a full-time writer, producing novels and literary criticism.

During the Second World War, Powell joined the army and rose from the rank of second lieutenant to major, serving first in the Welch Regiment and then in the Intelligence Corps as a liaison officer with Czechs and Poles among others. In 1951, he published A Question of Upbringing. This was the first novel in what would be 12 volumes, written over a quarter of century, making up A Dance to the Music of Time for which Powell is most remembered. In 1952, he moved to Somerset where he spent the rest of his life.

Powell also wrote other novels, two plays, many literary reviews, and autobiographical works. He served as a trustee of the National Portrait Gallery in the 1960s and 1970s, and was also a vice-president of the Society of Genealogists. In 1956 he was awarded a CBE, and, in 1988, was made a Companion of Honour. But, in 1973, he declined a knighthood. He died in 2000. Further information can be found at Wikipedia, the Anthony Powell Society or The Guardian.

In the early 1980s, when already in his 70s, Powell decided to begin keeping a daily journal, and, in time, these were published by William Heinemann in three volumes, each one spanning 3-5 years. The first to appear in 1995 was Journals 1982-1986, then came Journals 1987-1989 (in 1996), and finally Journals 1990-1992 (in 1997). According to his wife, Violet, who provided an introduction to the first volume: ‘The idea of keeping a journal appealed to Anthony Powell as bridging the gap when a novel was not in immediate production.’ She adds, the five years covered by the volume ‘make an effective sequel to the author’s memoirs, the last volume of which was published in 1982.

Further information about Powell’s diaries is available online in Chapter Six of Understanding Anthony Powell by Nicholas Birns (University of South Carolina Press, 2004) at Googlebooks; or in an article by Christopher Hitchens for The New York Review of Books. Two volumes of the diaries themselves can be previewed freely at Googlebooks (Journals 1982-1986, Journals 1990-1992). Here, though, are several extracts.

28 March 1985
‘To London, mainly for another Prime Minister’s dinner party [. . .] At dinner, to my great surprise, I was put on Mrs Thatcher’s right, with Vidia Naipaul on her left; on my other side was John Vincent. At one time or another I had read a lot of reviews by Vincent, some of them no great shakes, so far as I remembered, others pretty good. He has a notably prognathous jaw, perfectly civil manner. We did not have much talk, as I was fully occupied keeping my end up with the Prime Minister, while Vincent probably thought he had to make some sort of showing with his fellow don, Tony Quentin, on his other side.

I continue to find Mrs Thatcher very attractive physically. Her overhanging eyelids, hooded eyes, are the only suggestion of mystery (a characteristic I like in women, while totally accepting Wilde’s view of them as Sphinxes without a secret). Her general appearance seems to justify Mitterrand’s alleged comment that she has the eyes of Caligula and the lips of Marilyn Monroe; the latter a film star I never, in fact, though particularly attractive. Mrs Thatcher has a fair skin, hair-do of incredible perfection, rather dumpy figure, the last seeming to add a sense of down-to-earthiness that is appropriate and not unattractive in its way. She was wearing a black dress, the collar rolled up behind her neck, some sort of gold pattern on it. On her right hand was a large Victorian ring, dark red, in an elaborate gold setting. She only likes talking of public affairs, which I never find easy to discuss in a serious manner. In fact I felt myself taken back to age of nineteen, sitting next to a beautiful girl, myself quite unable to think of anything to say. Mrs T. is reputed to have no humour. I suspect she recognizes a joke more than she is credited with, if probably jokes of a limited kind, and confined to those who know her well. [. . .]

The talk at this Downing Street dinner, as before, was introduced at a certain stage by Hugh Thomas. It ranged over East Germany, to the condition of Young People in this country, topics on which I am not outstandingly hot. Mrs T. did, however, please me by saying that everything from which we are now suffering is all discussed in the plainest terms in Dostoevsky’s The Possessed (as I prefer, The Devils); a fact I have been preaching for decades. I wonder when, how, she got round to this. Did she read the novel, see its contemporary relevance herself, or was that pointed out to her by someone? I fear probably the latter.’

4 April 1986
‘My agent John Rush rang in the afternoon to say the BBC (i.e. Jonathan Powell) have decided not to do Dance [to the Music of Time] on TV. Rush says he is going to try Granada with the Ken Taylor/Innes Lloyd script as a package. After the last eight or nine years of BBC ineptitudes about Dance nothing surprises me, I feel one of the commercial companies certainly would be no worse to deal with, probably better. Why Dance should now appear unsuitable after ‘passing’ three scripted episodes is beyond comprehension. For that matter, after reading the sequence itself, a quiet beginning leading up to deeper matters is an essential aspect of the construction. Rush rather distraught. He has taken a lot of trouble about Dance over the years, and is understandably disappointed at this.’

7 April 1986
‘Main reviews of The Fisher King are now in; a generally satisfactory press, important thing is to let people know book is out, what it is about. Reviewers mostly approving, tho’ one is always struck by the ingrained philistinism, illiteracy, humourlessness, their fear and hatred of literary references. [. . .]

British reviewers tend to hate writing as such. This also applies to most interviewers. I always say the same thing to interviewers, because they always ask the same banal questions. They subsequently write facetiously, desperately anxious to show they are not in the least impressed by anyone or anything.’

25 November 1990
‘I wrote to Mrs Thatcher expressing regret at her resignation, saying that at one of her dinner parties where I met her she had spoken of Dostoevsky’s The Possessed (in Russian The Devils), i.e. those that entered into the swine, which then rushed over the cliff. This seemed a perfect example of what had happened to her, the swine being her betrayers in the Tory Party.’

This article is a slightly revised version of one first published on 21 December 2015.