Vladimir Ivanovich in Hollywood

‘We had a tour of the Metro-Goldwyn-Mayer studio. It is a huge institution, located on fourteen acres of land. Everything here is large scale [. . .] We were shown the stores, set installations of entire streets and even towns, a huge set with a pool into which a submarine dives (this has been prepared for the new production of The Mysterious Island by Jules Verne), fragments of different shootings (for instance, the scene where a huge live boa constrictor is winding around the body of a half naked girl).’ This is from a diary kept when the influential Russian theatre director Vladimir Nemirovich-Danchenko visited Hollywood. Nemirovich-Danchenko - who died 80 years ago today - was a co-founder of the famous Moscow Art Theatre.

Nemirovich-Danchenko was born in 1858 into a Russian noble family of mixed Ukrainian-Armenian descent in western Georgia. His father was an officer in the Imperial Russian army. He was educated in Tbilisi, where he was already keen on drama, and then at Moscow State University. He left his studies to work in the theatre, first as a theatre critic, then as a playwright - his first play, Dog-rose, was staged in 1881 - and then also as a teacher. By 1891, he was installed as a teacher at the Moscow Philharmonic Society, where he trained many future famous actors. He espoused new ideas such as the need for longer rehearsals and less rigid acting styles.

In 1898, Russian theatre practitioner Konstantin Stanislavski (later to be renowned for his Method Acting) and Nemirovich-Danchenko founded the Moscow Art Theatre. This was conceived as a venue for naturalistic theatre, in contrast to the melodramas that were the main form of theatre in Russia at the time. Its first season featured plays by Ibsen, Aleksey Tolstoy and Shakespeare, but it was not until it staged several of Chekhov’s plays that the theatre became famous. Chekhov had envisioned that fellow playwright and friend Maxim Gorki would succeed him as the theatre’s leading dramatist but this was not to be. The theatre went into decline, until that is it took on international tours. With tensions growing between the two co-founders, Nemirovich-Danchenko set up, in 1919, a musical theatre studio branch. This was reformed into the Nemirovich-Danchenko Musical Theatre in 1926.

In 1943 Nemirovich-Danchenko established the Moscow Art Theatre School, which is still extant. He was awarded the State Prize of the USSR in 1942 and 1943, the Order of Lenin, and the Order of the Banner of Red Labor. He died in Moscow on 25 April 1943. Further information is available from Wikipedia, Encyclopaedia Britannica, IMDB, and Moscow Art Theatre. 

Nemirovich-Danchenko did not leave behind any diaries as far as I know, or certainly none that have been translated into English. However, a close associate of his, Sergei Bertensson who joined the Moscow Art Theatre in 1918, did keep a diary during a trip, taken with Nemirovich-Danchenko, to the United States in the 1920s. This was translated by Anna Shoulgat into English, edited by Paul Fryer, and published by the Scarecrow Press in 2004 as In Hollywood with Nemirovich-Danchenko, 1926-1927: The Memoirs of Sergei Bertensson. A few pages can be previewed at Googlebooks and Amazon.

According to the publisher: ‘Sergei Bertensson’s diary of his trip to Hollywood with Russian theatre great Nemirovich-Danchenko is a unique record of an extraordinary and under-documented chapter in film and theatre history. For a year Bertensson followed his employer as he met with directors, producers, and stars, forever discussing projects that would never be realized. Some of the leading figures in Hollywood history appear in this record, including Charlie Chaplin, Douglas Fairbanks, Mary Pickford, and John Barrymore. Bertensson’s observations of life in Hollywood on the eve of the talkies revolution provide us with a compelling snapshot of movie history in the making, seen from the unusual perspective of an outsider.’

Here are a few extracts.

6 October 1926
‘The whole day has been spent on the reading of the script of François Villon; however, we have finished it. Vladimir Ivanovich likes the denouement, but on the whole he has found lots of vague and absurd details.’

10-11 October 1926
‘Vladimir Ivanovich remains keen on The Snowmaiden and fantasizes on this subject a lot.

The scheduled lessons with Marceline Day did not take place. She did not come, having informed us that she had been called for shooting. We went to see how a big mass scene on the square before Notre Dame de Paris was shot at the Universal studio. This involved about 600 people. There was much noise, animation, banal gesticulation, and swinging of hands. Barrymore himself, in the comic makeup mask of “the king of fools,” sitting on the head of a statue of a horse, played with full nerve, was brave, vivid, and graceful like a statue.

When I met Ms. Day there, I suggested that she should continue her lessons with Vladimir Ivanovich on the next day, but she became somehow confused and said that first she had to discuss this with Considine. When Barrymore finished his scene, Vladimir Ivanovich told him about this. The former got awfully angry and called it a shame and a disgrace and promised to sort it out by the evening.’

15 October 1926
‘We had a tour of the Metro-Goldwyn-Mayer studio. It is a huge institution, located on fourteen acres of land. Everything here is large scale: the wardrobe - a four-story house, the storage of props and furniture - a four-story building as well, and it has enough furniture to furnish approximately 250 apartments. On a permanent basis they have thirty-four directors, fifteen “stars,” a group of actors (fifty people), 1,200 technical staff members, and 250 administrative people. The work is simultaneously carried out on seven to eight stages. They produce thirty movies a year, among them such big productions as Ben Hur, The Big Parade, and others. 

We were shown the stores, set installations of entire streets and even towns, a huge set with a pool into which a submarine dives (this has been prepared for the new production of The Mysterious Island by Jules Verne), fragments of different shootings (for instance, the scene where a huge live boa constrictor is winding around the body of a half naked girl). During one of the shootings Vladimir Ivanovich was photographed together with the “stars” Alice Terry and Ramon Navarro.

Upon completion of the tour, we were introduced to the director of the studio, Thalberg.

We had to wait for him for about ten minutes. Thalberg is a young man; he is not yet thirty, but his authority is absolutely unlimited, and he receives an enormous salary plus a royalty from the completed movies. He is said to be exceptionally smart and good at business. We stayed with him for just a few minutes and left with a strong impression that the whole organization was hallmarked with bad taste. As if after visiting the backstage of the Moscow Art Theatre you happen to visit the backstage of a provincial theater. If at Schenck’s studio there is not enough artistic atmosphere, here you do not feel such atmosphere at all. This is just a big and perfectly arranged factory.’ 

24-25 October 1926
‘We continued reading Camilla. We observed how a short love scene between Barrymore and Marceline Day was shot. The usual cliché: on her part - self-admiration and pleasant smiles; on his part - banal operatic gestures and movements (and he seems to feel uncertain and awkward inside).

The set is ultrarealistic. A piece of stone castle, a real stone staircase and landing leading to it; below there is a large garden and a pool with a fountain. The garden is a huge hedgerow made up of natural greenery, pruned in the style of Versailles. The entire garden is laid out with pieces of live green turf, and among this grass there are artificial trees with paper rose camellias. Paper roses decorate the branches of the bushes, fringing the castle windows. They persuade that in a photograph the artificial will brilliantly merge with the natural and will give quite a real picture. The arrangement of this garden demanded no less than two days of the most thorough work and lots of money.

Vladimir Ivanovich sent Mary Pickford a bouquet of flowers. He was greatly impressed with her artistry.’

Hammer out a little idea

Today marks the 180th anniversary of the birth of Henry James, one of the US’s finest writers, and a major figure in 19th century literary realism. He was not a diarist as such, but jotted regularly in diary-like notebooks, developing ideas for stories he was hoping to write. As such, the notebooks, held by the Houghton Library at Harvard, are considered an important resource not only for understanding Henry James but for insights into the creative process.

James was born in New York City on 15 April 1843 into a wealthy family which travelled often to Europe where he was taught by tutors. His father was a Swedenborgian theologian, and his brother became a philosopher. Although briefly enrolled at Harvard Law School, James soon decided to be a writer, publishing short stories and contributing to magazines such as Nation and Atlantic Monthly. He continued to journey to Europe, where he met Ruskin, Darwin and Rossetti as well as literary figures including Turgenev and Flaubert.

In 1876, James settled permanently in London, and devoted himself to literature and travel. In his early novels - including Daisy Miller and The Portrait of a Lady - as well as in some of his later work, James contrasts the sophisticated, traditional Europeans with innocent brash Americans. After unsuccessfully trying to become a playwright he wrote some of his greatest novels, such as The Aspern Papers, The Turn of the Screw and The Ambassadors.

Later in his life, James lived in Rye, on the Sussex coast. He became a British citizen in 1915 and received the Order of Merit from King George V in 1916. He died the same year. Further biographical information is available from Wikipedia, Encyclopaedia Britannica, or the Poetry Foundation. James’s sister, Alice, is remembered largely because of a diary she kept which was published posthumously - see The Diary Review: Geyser of emotions, and The Diary Junction.

Henry James did not so much keep a diary as notebooks, and there are 16 volumes (1878 to 1916) held by the Houghton Library, Harvard University. According to the Library, James used the diaries largely to work out plots, problems of narration and point of view, as well to record addresses, appointments, and days, good and bad. The diaries were edited by F. O. Matthiessen and Kenneth B. Murdock and published by Oxford University Press in 1947 as The Notebooks of Henry James. The full text can be read online at Internet Archive. A more comprehensive (and less annotated) edition, put together by Leon Edel and Lyall Powers, came out in 1987 as The Complete Notebooks of Henry James (also Oxford University Press).

Generally speaking, James’s biographers have found the diaries of his sister, Alice, and his secretary, Theodora Bosanquet more useful than his own notebooks - see for example Henry James, a Life by Leon Edel, and Henry James at Work by Theodora Bosanquet. Here, though, are a couple of extracts.

8 May 1892 [about what would become Owen Wingrave]
‘Can’t I hammer out a little the idea - for a short tale - of the young soldier? - the young fellow who, though predestined, by every tradition of his race, to the profession of arms, has an insurmountable hatred of it - of the bloody side of it, the suffering, the ugliness, the cruelty; so that he determines to reject it for himself - to break with it and cast it off, and this in the face of every sort of coercion of opinion (on the part of others), of such pressure not to let the family honour, etc. (always gloriously connected with the army), break down, that there is a kind of degradation, an exposure to ridicule, and ignominy in his apostasy. The idea should be that he fights, after all, exposes himself to possibilities of danger and death for his own view - acts the soldier, is the soldier, and of indefeasible soldierly race - proves to have been so - even in this very effort of abjuration. The thing is to invent the particular heroic situation in which he may have found himself - show just how he has been a hero even while throwing away his arms. It is a question of a little subject for the Graphic - so I mustn’t make it ‘psychological’ - they understand that no more than a donkey understands a violin. The particular form of opposition, of coercion, that he has to face, and the way his ‘heroism’ is constatée. It must, for prettiness’s sake, be constatée in the eyes of some woman, some girl, whom he loves but who has taken the line of despising him for his renunciation - some fille de soldat, who is very montée about the whole thing, very hard on him, etc. But what the subject wants is to be distanced, relegated into some picturesque little past when the army occupied more place in life - poetized by some slightly romantic setting. Even if one could introduce a supernatural element in it - make it, I mean, a little ghost-story; place it, the scene, in some old country-house, in England at the beginning of the present century - the time of the Napoleonic wars. - It seems to me one might make some haunting business that would give it a colour without being ridiculous, and get in that way the sort of pressure to which the young man is subjected. I see it - it comes to me a little, He must die, of course, be slain, as it were on his own battle-field, the night spent in the haunted room in which the ghost of some grim grandfather - some bloody warrior of the race - or some father slain in the Peninsular or at Waterloo - is supposed to make himself visible.’

12 January 1895 [about what would become The Turn of the Screw]
‘Note here the ghost-story told me at Addington (evening of Thursday 10th), by the Archbishop of Canterbury: a mere vague, undetailed faint sketch of it – being all he had been told (very badly and imperfectly) by a lady who had no art of relation, and no clearness: the story of the young children (indefinite number and age) left to the care of servants in an old country-house, through the death, presumably, of parents. The servants, wicked and depraved, corrupt and deprave the children; the children are bad, full of evil, to a sinister degree. The servants die (the story vague about the way of it) and their apparitions, figures, return to haunt the house and children, to whom they seem to beckon, whom they invite and solicit, from across dangerous places, the deep ditch of a sunk fence, etc. – so that the children may destroy themselves, lose themselves by responding, by getting into their power. So long as the children are kept from them, they are not lost: but they try and try and try, these evil presences, to get hold of them. It is a question of the children ‘coming over to where they are’. It is all obscure and imperfect, the picture, the story, but there is a suggestion of strangely gruesome effect to it. The story to be told – tolerably obviously – by an outside spectator, observer.’

This article is a slightly revised version of one first published on 15 April 2013.

Climax in Crete

‘Before we knew what was happening, the skies were full of German planes which had apparently sprung from nowhere. There seemed to be hundreds of them diving, zooming, and criss-crossing as they bombed and machine-gunned all over the place. Then a flight of large silvery machines passed low down over our heads, coming from the south-west and making for Canea. They passed as silently as ghosts with just a swishing sound instead of the usual roar, and their wings were very long and tapering. It was only then that I understood that these were gliders and that an airborne attack on Crete had begun in grim earnest.’ This is from a WWII diary-memoir by Theodore Stephanides, a Greek-British doctor, biologist and poet. He died 40 years ago today, but is still fondly remembered largely for his friendship with the literary Durrells, and, in particular for encouraging a young Gerald Durrell’s love of nature.

Stephanides was born in 1896 in Bombay (then in British India). His mother came from a British family of Greek origin (the Ralli brothers), and his father worked for them. In 1907, his father retired, taking the family first to Marseilles, France, and then to the Ralli estate in Corfu. Only then did Stephanides begin to speak Greek. He served as a gunner in the Greek army on the Macedonian front in 1917-1918, and he participated in the Greco-Turkish War of 1919-1922. In December 1921, he refused, for political reasons, to take part in a service celebrating the king’s return to Greece and was subsequently detained and court-martialed. He moved to France, where he studied medicine (including radiology taught by Marie Curie), practiced astronomy, and began translating Greek poetry into English (publishing two volumes coauthored with George Katsimbalis).

In 1928, Stephanides returned to Corfu where, along with his friend Philoctetes Paramythiotis, founded the first radiological lab in the Ionian Islands. They co-directed the facility for 10 years.  In 1930, he married Mary Alexander, the granddaughter of a former British consul in Corfu and they had one child Alexia. In time, Stephanides grew interested in freshwater biology; with support from the Greek government, he began work on what would become his magnum opus, a treatise on the freshwater biology of Corfu (not published until 1948). While in Corfu, he became close friends with Lawrence and Gerald Durrell. In 1938, he moved to Thessaloniki, though he returned to Corfu occasionally, meeting Henry Miller on one such trip. Around this time, he participated in an anti-malaria campaign in Salonica and Cyprus organised by the Rockefeller Foundation. 

During WWII, being a British citizen, Stephanides served as a medical officer (lieutenant, and later major) in the Royal Army Medical Corps of the British Army in continental Greece, Crete, the Sahara and Sicily. Meanwhile, his wife and daughter spent the war years in England, living some of the time with the Durrells in Bournemouth. After the war, though, Stephanides divorced from his wife. He worked as an assistant radiologist at St. Thomas’ Hospital in London. He also continued to write and publish poetry, and to help edit books by Lawrence and Gerald Durrell, both of whom dedicated works to him. Gerald’s dedication in The Amateur Naturalist reads: ‘This book is for Theo (Dr Theodore Stephanides), my mentor and friend, without whose guidance I would have achieved nothing.’ Stephanides died in Kilburn, London, on 13 April 1983. A little further information is available at Wikipedia.

Apart from his own poems, translations of poems by others, and scientific works, Stephanides left behind some autobiographical material, in the form of memoirs. The earliest and best known of these was published in 1946 by Faber & Faber as Climax in Crete which tells of the WWII battle for the island. Although, in fact, a memoir, written retrospectively, Lawrence Durrell, who provided a foreword for the book, calls it a ‘diary’, and in parts the text reads as fresh and immediate as one. Here are some extracts from Durrell’s foreword, Stephanides’ own introduction and the main text.

Foreword by Lawrence Durrell
‘The following selection from his diary, edited by himself, gives an account of his adventures during the tragic Cretan campaign. It is not the smart, ill-informed writing of the so-called ‘trained reporter’, nor the shredded gossip of the American woman journalist; it is so bare and unassuming a narrative as to appear in places deliberately underwritten. Yet in the solid virtue of observed detail it evokes the atmosphere of Greece and Crete during the German attack with a fidelity I have not seen elsewhere equalled; and to those who were there it will no doubt come as a refreshment after the scrappy sensational prose works of the professional journalists. Certainly as a record of an epoch- making campaign it must outlive, by its very humility and simplicity and probity, more pretentious books.’

Introduction by Stephanides
‘The following brief account of what I saw during the Campaign of Crete was written immediately after my evacuation to Egypt. It was composed hurriedly, as I wished to set down the events while they were still fresh in my mind. For obvious reasons I had destroyed all notes in my possession and I was obliged to rely solely on my memory aided by some mnemonic signs I had scrawled in the margins of a pocket calendar.

It should be noted that this account does not aim at providing information of a purely military nature, as this angle has been far more competently dealt with in various official publications. My object is rather to describe the mental, moral, and psychological reactions of ordinary individuals - including myself - when suddenly confronted by a wholly unexpected emergency.

On re-reading the MS, its shortcomings were only too apparent, but I decided that it would convey a truer and more vivid picture of that grim period if left as originally written rather than if revised - and perhaps distorted - by too much pruning and correcting. No changes have therefore been made except for a few interpolations, generally to clarify the text.’

Chapter 1: The Evacuation from Greece
‘When the retreat from the north of Greece began, the 66th A.M.P.C. Group (O.C. Lieutenant-Golonel J. H. Courage), to which I was attached as regimental medical officer, returned in a hurry from Volo to Daphni. Motor- lorries brought us to Daphni Camp, about twelve kilometres north-west of Athens, on the afternoon of the 19th of April 1941. This camp, an agglomeration of tents of various shapes and sizes, was situated amongst lovely pine woods not far from the celebrated Byzantine chapel of the same name.

The next day I was able to get a few hours’ leave to go down to Athens. Everything appeared quiet and normal, except that air-raid alarms were sounding most of the time, during which all shops shut and all traffic stopped On the whole, everybody seemed cheerful and optimistic, and confident that the Germans would be held on the Lamia-Thermopylae line.

The suicide on April the 18th of Mr. Korizis, the Prime Minister, was known to everybody. The papers had reported it as ‘heart-failure’, but it was an open secret that he had shot himself.

The shopkeepers and all whom I came in contact with were particularly bitter against the Minister for War, who, they said, had betrayed Greece and ‘ought to be hanged in Constitution Square with all his accomplices’. Everybody agreed that ‘now everything will be all right as a more resolute Government will take charge’.

I saw a friend of mine, Lieutenant George Katsimbalis, who was of the opinion that the situation was very grave, but that the Lamia line could be defended. As he held a post in the Greek G.H.Q., I considered his verdict very reassuring.

On the 21st I went to the 26th General Hospital at Kiphissia to draw some medical supplies as most of my equipment had been left behind in Volo. On passing through Athens I noticed no marked signs of uneasiness, the shops and cafes were open as usual.

There was an air-raid alarm at about 10 a.m. while I was at Kiphissia and I saw a dozen German planes which seemed to be bombing the Tatoi aerodrome. There was some ack-ack fire and I saw two planes dive very steeply without reappearing above the trees which limited my view. It was impossible to say however if they had been brought down or if they were only dive-bombing. After one of these dives there was a terrific explosion and a great black column of smoke which mushroomed out at a height of several thousand feet. It was certainly something more than a bomb-burst, but I could not tell if it was the enemy plane which had crashed or a small petrol dump which had been blown up.

I handed in my indent at the hospital dispensary, housed in the Olympus, one of the luxury hotels of peacetime Kiphissia, and was told to call again the next morning for my stores.

That same afternoon we moved from Daphni Camp and were billeted in a pleasant little villa in Old Phaleron. Its one drawback was that it was situated just opposite the seaplane base, and I thought that it might become rather a hot spot if the enemy were to bomb the hangars.

Lieutenant-Colonel Courage invited Captain James, Captain Rose, and me to dine with him that evening at Costi’s restaurant. We had a very pleasant meal and everything seemed normal. The place was full of people, including British and Greek officers, and everybody appeared cheerful and confident. On our way to Costi’s, we had dropped in for a drink at the Officers’ Club just opposite the Grande Bretagne Hotel. All the officers we saw there were optimistic and they told us that the Germans were being thrown back with terrific losses all along the Lamia line. The news about the Greek army in Albania was not quite so good, but everybody seemed certain that it would be able to fall back all right and join hands with the rest of the forces.

We left Costi’s at about 11 p.m. and suddenly discovered that there was not a taxi to be seen anywhere to take us down to Phaleron. We had to walk the whole way and it was only when we had almost reached our billet that a private car passed us and an old gentleman with a white beard stopped and offered us a lift. We all bundled in out of politeness and almost immediately bundled out again opposite our front door. The old gentleman would take no refusal.

The next morning, the 22nd of April, we had breakfast as usual. None of us had the slightest inkling that an evacuation was contemplated. We even thought that we would go up the line again to Gravia in a few days’ time. I was given a small 15-cwt. truck to take delivery of the medical supplies from the 26th General Hospital. [. . .]’

Chapter III: The Battle for Crete
‘May the 20th dawned bright and fine. At about 7.30 a.m. some of the other officers and I were standing near the mess tent, chatting and waiting for breakfast to be served, when suddenly without any warning there was a terrific outburst of ack-ack fire. We all sprang into the slit-trenches, thinking that this was just another of the ordinary raids we had got so used to lately. But this time it was something very different. Before we knew what was happening, the skies were full of German planes which had apparently sprung from nowhere. There seemed to be hundreds of them diving, zooming, and criss-crossing as they bombed and machine-gunned all over the place. Then a flight of large silvery machines passed low down over our heads, coming from the south-west and making for Canea. They passed as silently as ghosts with just a swishing sound instead of the usual roar, and their wings were very long and tapering. It was only then that I understood that these were gliders and that an airborne attack on Crete had begun in grim earnest.

Shells from our ack-ack guns were bursting all around the gliders and their accompanying planes, but these were so many and our guns so pitifully few that little damage seemed to be caused. I saw one glider twist sideways with a jerk and come down behind the trees at a very steep slant, and I guessed that it must have crashed, but most of the others - about thirty, I estimated - slid serenely on and descended in the direction of Canea. They were going much slower than an ordinary plane and I reflected what a hash a few of our Hurricanes would have made of them if only they had been there.

I was just gazing at a bomber which appeared to have been hit, as it was swaying from side to side with a long plume of black smoke trailing behind it, when there was a shout from Captain Fenn: ‘Look! Parachutists!’

I spun round and saw a row of tiny black dots falling from some of the planes which were buzzing around. They seemed to have been loosed from a very low altitude, and they blossomed out almost instantly into little white umbrellas which disappeared behind the trees. Some of the parachutes appeared to be coloured green or brown, but they were too far away (luckily!) for me to be certain. Some again were much larger than the others and had a curious elongated shape; it was only later that I learnt that these were triple parachutes carrying light mortars, munitions, and other heavy stuff. The planes weaved about continuously in all directions and dropped wave after wave of these parachutes in a long arc extending from roughly south-west to north of us. Fortunately they all seemed fairly distant, but parachutists are too near in my opinion wherever they may be. It was difficult too to judge distances and to know exactly where they had come down owing to the densely crowded trees which surrounded us.

Incidentally, it was not until I had actually seen them that I realized the enormous size of a parachute. I had pictured parachutes to be four or five times as large as an umbrella, but in reality they looked twenty or thirty times that size, quite dwarfing the tiny figures of the men who dangled beneath them. When the distance is great enough, only the parachute itself is visible.

In the meantime a terrific outburst of Bren, rifle, and tommy-gun fire was added to the other noises and, what with the ack-ack, the bursting bombs, the shriek of diving planes and the rattle of their machine-guns and light cannon, the uproar reached an almost unbelievable intensity. It did not add to our peace of mind, either, to reflect that none of us knew what was really happening, that we had never received instructions what to do in a similar emergency, that nearly all our men were unarmed, and that none of us had the faintest idea as to how near the Germans really were to us. It was impossible to see very far though the trees, but the small-arms fire was very close to the west of us. [. . .]’

Drawing of boats and town

‘Some sun though hazy, to Devoran - did awkward drawing of boats and town. Rushed back to Tresilian & did sketch from car.’ This is the painter and illustrator, John Nash (not to be confused with John Nash the architect) - born 130 years ago today - writing his diary in the twilight years of his life. Though less well remembered than his brother Paul Nash, it was John Nash who was the subject of the first ever retrospective exhibition by the Royal Academy of a living painter.

Nash was born on 11 April 1893 in London, the younger son of a lawyer and his wife who came from a family with a naval tradition. In 1901, the family moved to Iver Heath, Buckinghamshire. Nash was educated at Langley Place in Slough and afterwards at Wellington College, Berkshire. His mother died in a mental asylum in 1910. Nash went to work as a newspaper reporter initially but, increasingly, was drawn to the art world thanks to his older brother, Paul, who was studying at the Slade School of Art, and to Paul’s friends Claughton Pellew and Dora Carrington. It was Carrington who introduced Nash to Christine Kühlenthal, another artist (who he married in 1918). He enjoyed his first success as an artist at a joint exhibition with Paul at the Dorien Leigh Gallery, London. He joined the so-called London Group, and exhibited in 1915 at the Goupil Gallery.

At the outbreak of the First World War, Nash was prevented from enlisting by ill health but, from November 1916, he joined the Artists Rifles. He served as a sergeant at the Battle of Passchendaele and at the battle of Cambrai. In 1917, he produced what would become his most famous oil painting, Over the Top, now to be found in the Imperial War Museum. On his brother’s recommendation he was employed as a war artist in 1918. After the war, he settled first in Gerrard’s Cross, then he moved, in 1921, to Meadle, near Princes Risborough, also in Buckinghamshire, which remained his permanent home until 1944 (though he bought a summer cottage in Suffolk). In 1920, he was a founder member of the Society of Wood Engravers, and in 1923, he became a member of the Modern English Water-colour Society.

Increasingly, Nash worked on woodcuts and wood engravings as illustrations to literary periodicals and for books produced by the private presses. Having become the first art critic on the London Mercury, he also took up teaching at the Oxford Ruskin School. From 1934, and then for ten years after the Second World War, he taught at The Royal College of Art. During the war, he again served, this time in the Observer Corps before becoming Official War Artist to the Admiralty in 1940.

After the war, Nash lived at Wormingford, in the Stour Valley in Essex, and he taught at the Colchester Art School. He was one of the founders of Colchester Art Society and later its president. In 1951, he became a full member of the Royal Academy, which gave him a retrospective exhibition, the first for any living painter. Nash’s wife died in 1976, after 58 years together, and Nash died a year later. Further information is available from Wikipedia, Colchester Art Society, and the Jenna Burlingham Gallery.

Nash is not known as a diarist. However, a recent and excellent biography - John Nash: The Landscape of Love and Solace (Thames & Hudson, 2020) by Andy Friend - includes a good number of references to diaries Nash kept in his later years. Mostly these references are used by Friend as source material for his text, but he does also, occasionally, include a few quoted extracts, such as the following.

21 April 1975
‘A lady from Sotheby’s to call about 30c. She brought me the painting which I had thought not mine from the Photo. Decided it was mine, probably circa 1015 in the Cotswolds. On the back of another. Biblical scene. Lot & family being led from Sodom & G. by angels, also probably by me. Damaged in parts. 1913 or so? The Cotswold picture badly cracked. Probably done when w. Father in Cheltenham.’

3 March 1976
‘Some sun though hazy, to Devoran - did awkward drawing of boats and town. Rushed back to Tresilian & did sketch from car. Sun gone and mist coming up. Tried to another. Very poor light.’

30 November 1976
‘The last day of this vile and malignant month, an utter curse fell on it and all its horrible events. Christine’s death, poor old Hog as well. The only bright spots have been the kindness of dear friends and the kind letters which all affected one because they expressed the feelings of love & respect felt by all for her. Now I must try and battle on & start again. God help us, if there is one.’

I am a socialist

Idris Davies, a Welsh poet best remembered for The Bells of Rhymney, a ballad set to music by Pete Seeger, died 70 years ago today. Diaries of his, archived at the National Library of Wales, have not been edited or published, but one or two extracts can be found online.

Davies was born in a 1905 in Rhymney, Monmouthshire, a welsh-speaking community. At 14, he followed his father into the coal mines. He lost a finger in a work accident, and became increasingly political, taking part in the General Strike of 1926. When his pit closed, he chose to seek alternative ways of living, and eventually qualified as a teacher. His first appointment was in Hoxton, East London, in 1932.

Davies’ emergence as a poet is said to have conincided with the launch of the magazine Wales, edited by Keidrych Rhys, to which he became a regular contributor. He also contributed to London magazines such as the Poetry Review and The Adelphi. His first volume of poetry, Gwalia Deserta, was published in 1938. This included The Bells of Rhymney, perhaps his most well known verse, which was set to music by Pete Seeger and covered by many other famous singers.

As a conscientious objector, Davies was permitted to continue teaching during the Second World War, and did so in various places. It was at Anstey in Hertfordshire, in the summer of 1941, that he wrote The Angry Summer which is regarded as his finest work. He was moved around from school to school, working in London and then in Treherbert, the Rhondda valley, where he stayed for two years. This is where he completed Tonypandy and Other Poems, accepted by T. S. Eliot for Faber and Faber in 1945. It is also where he met Morfydd Peregrine: although they never married, the two were said to be devoted to each other.

Finally, after years of trying, Davies secured, in 1947, a permanent posting at a school back in the Rhymney Valley. He was, though, biographies say, disappointed to find the area had been ravaged by unemployment, emigration, and social deprivation. He died from cancer on 6 April 1953. Wikipedia has an article on Davies, as does BBC Wales. The fullest online biography can be found at the Oxford Dictionary of National Biography (ODNB) website (though this requires a log-in).

According to the National Library of Wales archive for Davies, he left behind diaries for a number of years (1938, 1940, 1946, 1948, and 1951). These were used by Islwyn Jenkins for his biography of Davies; and the ODNB biography, which refers to Jenkin’s book, says the diaries provide evidence that his relationship with Morfydd Peregrine was sometimes strained.

One diary entry by Davies is widely quoted, on Wikipedia and elsewhere: ‘I am a socialist. That is why I want as much beauty as possible in our everyday lives, and so I am an enemy of pseudo-poetry and pseudo-art of all kinds. Too many “poets of the Left”, as they call themselves, are badly in need of instruction as to the difference between poetry and propaganda. . . These people should read William Blake on Imagination until they show signs of understanding him. Then the air will be clear again, and the land be, if not full of, fit for song.’

The BBC web page (mentioned above) quotes another extract from Davies’s diaries: ‘Any subject which has not man at its core is anathema to me. The meanest tramp on the road is ten times more interesting than the loveliest garden in the world.’

This article is a slightly revised version of one first published on 6 April 2013.

Set up the box

‘Decided to spend the day photographing. Saddled pony and started for the mountain taking camera and plate changing box with a dozen plates and during the forenoon made eight exposures, all on rock subjects.’ This is the famous early American photographer, William Henry Jackson, born 180 years ago today, writing in his diary on a formative mission to photograph the Union Pacific railway line in 1869.

Jackson was born in Keeseville, New York, on 4 April 1843, the first of seven children. His mother was a talented painter, and influenced William Henry who was something of an artistic prodigy. As young as 15, he started working as a retoucher in photography studios. In 1862 he joined the Union Army though saw little if any action in the American Civil War, since his unit was usually on garrison duty. He returned to Vermont in 1863, and to working in a studio. In 1866, after a broken engagement, he went West, working as a bullwhacker for a freighting outfit. He sketched landmarks and lifestyles along the Oregon Trail. On returning from the west in 1868, he opened his own photographic studio in Omaha, Nebraska, and, while travelling in the surrounding area, took many of his now-famous photographs of American Indians.

In 1869, Jackson won a commission from the Union Pacific to document the scenery along the various railroad routes for promotional purposes, and this led to him being invited to join a geologic survey to explore the Yellowstone region. He was then the official photographer of the US Geological and Geographic Survey of the Territories, and became one of the most important national explorers. His photographs are credited with helping convince Congress to establish Yellowstone National Park, the first such park in the US. In 1879, he opened a studio in Denver, Colorado, and established a large inventory of national and international views. Commissions for railroads followed in the early 1890s, and in the mid-1890s he took many photographs for the World’s Transportation Commission.

Thereafter, Jackson became a partner in the Detroit Photographic Company which acquired exclusive rights to use a form of photography processing called Photochrom, allowing the company to mass market postcards and other materials - many taken by Jackson - in colour. The company went out of business after the war, and Jackson moved to Washington, D.C. in 1924, where he produced murals of the Old West for the new US Department of the Interior building, and wrote two autobiographies. He is also credited with being a technical advisor for the filming of Gone with the Wind. He died in 1942, aged 99. Further information is readily available on the internet, at Wikipedia, for example, National Park Service, and the University of Chicago Library.

The New York Public Library holds a large archive of Jackson’s papers, including many of his diaries. According to the information online: ‘The diaries vary in depth and breadth of coverage, as well as in format. Some are original holograph journals. Others are holograph or typed transcripts made by Jackson from the originals. Some which appear to be transcripts are Jackson’s narrative reconstructions based on the original diaries; others are memoirs based on brief notes. These “diaries” as a whole cover his nine months in the Vermont Regiment, 1862-1863; his first trip West in 1866-67; the opening of his studio in Omaha; his photography along the line of the Union Pacific Railroad in 1869; his “photographic campaigns” with the U.S. Geological Survey, 1870-1878; his travels abroad with the World’s Transportation Commission, 1894-1986; and his years in retirement, 1925-1942. There are no diaries covering his years as a commercial photographer in Denver, 1879-1897, and only one diary (1901) and one notebook related to the 27 years he worked for the Detroit Photographic Company (later Detroit Publishing Company).’

The Diaries of William Henry Jackson was published in 1959 by Arthur H. Clark Co. as part of The Far West and the Rockies Historical Series. This is freely available to view online at the Hathi Trust. Photographs of the original pages from the June- September 1869 diary are available to view online at the New York Public Library website, as is a typescript of the same.

24 June 1869
‘The morning was cloudy but we thought promised a fine day so we went to work & set up the box. Worked around the streets from different quarters until about noon when it commenced raining & we stopped. Kept it up at intervals all P.M. Heard that some of the demi-monde wanted some large pictures of their house. Hull & I thought we would go around & see if we couldn’t get a job out of them. Talked it up a while but they seemed indifferent. I called for a bottle of wine soon after they began to take considerable interest in having a picture taken. Had another bottle & then they were hot and heavy for some large pictures to frame & began to count up how many they should want. So we left promising that if the weather permitted we would surely be on hand & make their pictures. Just before six the rain came down in torrents, making rivers in every street. As it slacked up a little we got our instruments out & made three or four negatives of the flood, getting some very good effects. This evening was but a repetition of the last.’

25 June 1869
‘Silvered paper in the morning and attended to printing all day. Not a good day for outside work so we did not make any negatives. Got along very well with printing & even after toning our pictures looked first-rate - but the fixing bathfixed them & we were very much disappointed, some of them turning out poorly. Printed up about 4 or 5 dozen. Shall probably get quite an order from McLelland for them. After supper sat in Sumner’s store listening to tough yarns from John & his brother of fighting scrapes &c. After taking a look in the Gold Room we retired early.’

26 June 1869
‘Morning opened bright. Got things out at once to make negatives. Set the box up in the yard & made a few up town of Rollins House, Ford House &c., &c & them went down to the depot securing half a dozen different views. After dinner went over to Madame Cleveland’s to make the group of the girls with the house. Weather was just hazy enough to soften the light down for an out-door group. Made three exposures - first two not good but the last very good. Occupied the rest of the afternoon varnishing and retouching the negatives made.’

27 June 1869
‘Yesterday I received a letter from & in the evening wrote one to Mollie. This A.M. slept until 7 & then went over to John’s & commenced sivering paper at once. Kept steadily at printing until about 2 P.M. getting off about 12 sheets of paper. The pictures printed well, but in toning came up mealy much to our disgust & to add to our troubles got them overtoned - had toning all done by 4 O’clock & by 5 had 20 of Madame Cleveland’s shebang all mounted. Concluded to wait until to-morrow before we delivered them. After tea took our usual walk to the depot to see the Western train come in. Things begin to look as though we should sell quite a number of pictures & it is time we did for the last two days I have been just about strapped.’

25 September 1869
‘Decided to spend the day photographing, Saddled pony and started for the mountain taking camera and plate changing box with a dozen plates and during the forenoon made eight exposures, all on rock subjects. In passing the plate box from one to another in coming down over the rocks it slipped out of hand and in falling was damaged so that it would not work. This put an end of picture making for the time being and we all went back to camp and spent the afternoon fishing. Just before sunset, however, I repaired the plate holder and exposed the remaining plates on fish subjects.’

This article is a slightly revised version of one first published on 4 April 2013.

On parade for execution

‘500 Jews stood on parade for execution by shooting . . . lined up ready to be shot . . . I don’t much care for shooting defenseless people - even if they are only Jews. I prefer honest open combat.’ This is from the extraordinary diary of Felix Landau, a Nazi executioner of Galician Jews, who died 40 years ago today. He was eventually caught and tried for his crimes, serving only 10 years in prison, but his short diary stands as a horrifying first hand account of mass murderer.

Landau was born in Vienna in 1910 an illegitimate child given the name of his Jewish stepfather. In 1925, he joined the National Socialist Youth and was expelled from Catholic boarding school for active recruitment activities. In 1930, he joined Austrian Bundesheer (2nd Dragoner Squadron), yet by mid-1933 he had been expelled for Nazi actions. Thereafter, he joined the SS but was jailed for taking part in the assassination of Austrian chancellor Engelbert Dollfuss in 1934. 

On his release from jail in 1937, Landau renewed Nazi activities and became a naturalised German citizen. He married Marianne Grzonka in 1938, and they had two children. By this time he was employed as a police assistant in the Gestapo. In 1940, he transferred to the Gestapo’s intellitence service (KdS/SD), and then volunteered for the Einsatzkommando (the mobile killing squads) based first in Lwów, Poland (today Lviv, Ukraine), and later in Drohobycz.

By the latter part of 1941, Landau was in charge of organising Jewish labour, and he was living with a typist, Gertrude, whom he had met a year earlier. Having divorced his wife, he married Gertrude in 1943. After the war, in 1946, a former worker recognised him in Linz. He was arrested by the Americans but escaped from Glasenbach prison camp in August 1947. He changed his name to Rudolf Jaschke and started up an interior decorating company in Bavaria. In 1959, however, he was arrested and accused of participating in massacres. He was condemned to life imprisonment in 1962 at the Stuttgart Assize Court, but was released in 1973. He died on 4 April 1983. Further information is available from Wikipedia, Remember Together Across Borders, and from an article in the Los Angeles Review of Books. 

Landau’s name is remembered today because, briefly, he kept a diary in which he wrote about the horrendous atrocities - mass killings of Galician Jews - which he was undertaking for, and in the name of, the Nazis. The diary typescript in German is available online at Digital Kenyon; and the same website has published translations into English of several of the diary entries - as below. The translations were made by Tuviah Friedman, former Director of the Institute of Documentation of Nazi War Crimes in Haifa.

3 July 1941, Lemberg
‘On Monday 30.6.1941, after a sleepless night I volunteered . . . for a Commando Operation . . . At 4 PM on 2 July 1941, we arrived in Lemberg. In comparison Warsaw is harmless. Shortly upon arrival, the first Jews were shot by us. As is usual, some of the modern-time leaders become mad with a superiority complex, really imagine to be what they seem. . . Whilst writing the order is given to get ready. Commando operation with steel helmet and rifle, 30 rounds of ammunition . . . 500 Jews stood on parade for execution by shooting . . . lined up ready to be shot . . . I don’t much care for shooting defenseless people - even if they are only Jews. I prefer honest open combat.’

5 July 1941
‘. . . Today we might have our first hot meal . . . there is the smell of corpses everywhere when passing burnt houses. Time is filled out with sleep. In the course of the afternoon about another 300 Jews and Poles are put down. At a street corner we saw several Jews covered all over with sand. We looked at one another. All thought the same thing. The Jews had crawled out of the grave of the shot people . . .

Instead, they learn that Ukrainians had rounded up some 800 Jewish men and taken them up to the ruins of the Citadel on a hill. Landau’s Einsatzkommando unit was scheduled to shoot them the following day, but they were released and in the process a group of Wehrmacht soldiers beat them mercilessly:

We continued driving down the road. Hundreds of Jews with blood streaming down their faces, holes in their heads, broken hands and eyeballs hanging from their sockets are running along the road . . . soldiers standing with cudgels thick as fists lashing out and beating anyone crossing their path . . . Jews heaped row upon row, like pigs, whimpering terribly. Nothing against it only they should not let the Jews run around in this state. For today we have nothing else to do . . . Comradeship is still good . . . I am disappointed . . . too little combat, hence this bad mood.’

12 July 1941, Drohobycz
‘At 6 o’clock I am suddenly being woken out of my sleep. On parade for execution. Alright then, so I can play hangman and afterwards grave digger, why not? It’s  . . . strange, it is combat one loves, and then one has to shoot down defenseless people. 23 are to be shot, amongst them the women already mentioned. They are to be admired. They refuse to accept as much as a glass of water from us. I am designated a marksman and have to shoot eventual escapees. We drive along the road for a kilometer and then turn to the right into a wood. We are only 6 men  . . . and are looking for a suitable location for the execution and burial. A few minutes and we found such a place. The death candidates step forward with shovels to dig their own grave. Two of them are crying. The others appear to have tremendous courage. What may go through their minds at this moment? I think each has a small hope that somehow, he will not be shot after all. The death candidates are being paraded in three rows as there are not enough shovels. Strange, nothing moves in me. No pity, nothing. This is how it is, and that’s all there is to it. Only very gently does my heart beat when uncalled for emotions and thoughts awaken . . . And here I am today, a survivor standing in front of others in order to shoot them. Slowly the hole gets bigger and bigger, two of them are crying continuously. I keep them digging longer and longer: they don’t think so much when they’re digging. During work they are quieter. Valuables, watches and money are being put on one heap. After all of them are brought to a vacant place, the two women are made to stand at one end of the grave as first in line to be shot. Two men are already shot . . . in the undergrowth . . . The women stopped to the pit, tremendously composed and turned around. Six of us had to shoot them . . . three men to aim to the heart, three men to the head. I take the heart. The shots are heard and brain matter whiz through the air. Two in the head is too much.’

22 July 1941
‘. . . In the morning the workers ordered arrived. When I then wanted to go to the committee of the Jews, one of its members arrived and asked for my assistance, since the Jews refused to work there. I went over there. When these arseholes saw me, they ran away in all directions. A pity I didn’t have a pistol on me, or I would have shot some down . . . I declared that unless 100 Jews would fall in within one hour, I would choose 100 Jews to be shot. Scarcely 30 minutes later, 100 Jews arrived, and another 17 men for those that had escaped beforehand. I reported the incident and at the same time demanded that those that had run off were to be shot for having refused to work . . . 12 hours later, 20 Jews were killed.’

A path of dreams

In the moon’s clear light
all mundane desires
are but a path of dreams

So wrote the great poet Saiokuken Sōchō in medieval Japan, half a millennium ago. The verse comes from a memoir-like text, translated and published as The Journal of Sōchō. Although more a poetry collection with personal remembrances than a diary, the journal - and a companion work - have been called a ‘magisterial study’ of the poet.

Saiokuken Sōchō was born in 1448 in Suruga province (now in Shizuoka prefecture), Japan, to a blacksmith and his wife. He became a Buddhist monk in 1465 and later served Yoshitada Imagawa, but after Yoshitada’s death in battle, he left Suruga and went to Kyoto. He studied renga (a kind of collaborative way of writing poetry) under Sogi. He came to practice Zen Buddhism under Sojun Ikkyu of Daitoku-ji Temple, living by Shinjuan in Daitoku-ji Temple, and after Sojun passed away, he lived in Shuonan in Takigi village (Yamashiro Province, present-day Kyotanabe City, Kyoto Prefecture).

In 1496, Sōchō went back to Suruga, and served Ujichika Imagawa. In 1502, hearing the news of Sogi’s fall at Hakone Yumoto, he went to care for him on his deathbed. After Sogi’s death, he became the leader of the renga world with many influential friends. He is said to have been a diplomatic adviser to the Imagawa clan. In his later years, he built the Saiokuken (present-day Saioku-ji) Temple at Izumigaya by Mt. Utsuno in Totomi Province. He died in 1532. A little further information is available online at Encyclopaedia Britannica and at Worldtrade.com (a book industry website).

Sōchō left behind several manuscripts amounting to a kind a journal of his travels between 1522 and 1527. H. Mack Horton, an associate professor of East Asian Languages and Cultures at the University of California, Berkeley, studied the manuscripts and produced, in 2002, an English language version, complete with annotations and various appendices - The Journal of Sōchō (published by Stanford University Press). He also produced a second work (also published by Stanford) to accompany the journal itself: Song in an Age of Discord: ‘The Journal of Sōchō’ and Poetic Life in Late Medieval Japan. The publisher claims that The Journal of Sōchō ‘is one of the most individual self-portraits in the literary history of medieval Japan’ and ‘provides a vivid portrayal of cultural life in the capital and in the provinces, together with descriptions of battles and great warrior families, the dangers of travel through war-torn countryside, and the plight of the poor.’

The journal records, the publisher explains, ‘four of Sōchō’s journeys between Kyoto and Suruga Province, where he served as the poet laureate of the Imagawa house, as well as several shorter excursions and periods of rest at various hermitages. The diverse upbringing of its author - a companion of nobles and warlords, a student of the orthodox poetic neoclassicism of the renga master Sogi, and a devotee of the iconoclastic Zen prelate Ikkyu - afforded him rich insights into the cultural life of the period. [. . .] This variety of cultural detail is matched by the journal’s wealth of prose genres: travel diary, eremitic writing, historical chronicle, conversation, and correspondence.’

The full work can be read freely online at Horton’s own website. Harvard Journal of Asiatic Studies has called Horton’s books ‘a magisterial study’ of Sōchō. However, describing Sōchō’s manuscripts as a diary or journal might be considered artful publishing. On the one hand, a very large part of the text is poetry, and, on the other, that which is not poetry reads far more like a memoir or autobiographical memories than a diary. Here’s an extract from ‘The Third Year of Daiei (1523)’

‘An old friend of mine named Rikijū lives at Gokokuji temple at Higuchi Aburanokōji. He called on me at my place of retirement, and for more than ten nights we slept side by side. He is an extraordinary lie-abed - a Time sect monk who cannot tell the time

Counting up the hours,
it is past four, now past six -
when does he think it is,
that Time sect monk fast asleep,
as dead to time as Fuji’s peak.

At Shinden’an in Takigi, I came across a letter case containing correspondence sent now and again about an offer to raise my son, the novice Jōha, about whom the writer had so often heard. On the back of one letter was a copy of the Diamond Sutra I had had young Jōha make at thirteen years of age. Shinden’an was built by the Zen nun Jikō, widow of Nose Inabanokami Yorinori. I perused the sutra and at the end, to the side, I wrote:

These dew-like tears
are all that now remain
after the wending wind,
a nurturing mother,
brought deep color to the oak leaves.

Inabanokami Yorinori did me great favors in the past, and I have been told that he said until the day he died that he regretted not seeing more of me. Because of his uncommon taste for renga, I inaugurated a memorial thousand-verse sequence at An’yōji temple in Higashiyama for the repose of his spirit. I discussed the matter with Lord Sanetaka, and for the occasion the Zen priest Shōhaku, Sōseki, Teramachi, Hahakabe, Kawarabayashi Tsushimanokami, and others came up to the capital. It was quite a special event. I composed the tenth hokku of the thousand verses:

In the moon’s clear light
all mundane desires
are but a path of dreams.’

A glittering occasion

Noël Coward, one of the greatest international show business personalities of the 20th century, died half a century ago today. His published diaries give a marvellously glittering sense of the London, Paris and New York theatre worlds, such as when he is describing a night at the Palladium, or hobnobbing with royalty; but they also provide a gossipy self-portrait of his own celebrity status.

Coward was born in Teddington, near London, in December 1899. He began performing on the stage at an early age, thanks to his mother answering an advert for child actors, and appeared in several productions with Sir Charles Hawtrey, a successful actor, comedian and director since the 1880s.

By the early 1920s, Coward was writing as well as performing, and had some success with his own play The Young Idea. It was The Vortex - with veiled references to drugs and homosexuality - performed in 1924 at the Everyman Theatre in Hampstead which brought him into the public eye. Several very successful plays - including Hay Fever and Cavalcade - followed in the late 1920s and early 1930s. In Private Lives, Coward starred with his famous stage partner Gertrude Lawrence.

Coward was also a prolific song writer and a talented singer. During the war, he entertained allied troops; and, clandestinely, he worked for the intelligence services. His play Blithe Spirit (1941) broke box-office records for a West End comedy. After the war, his work remained commercial, but did not achieve the heights of popularity he had experienced in the 1930s. In 1945, one of his short stories was turned into the very successful film Brief Encounter. He continued writing and producing plays, also for television, and found new popularity as a cabaret entertainer - both in the US and UK. From the 1950s, he became a tax exile, residing in Bermuda, Switzerland and finally Jamaica, returning regularly to London (as well as New York and Paris) to perform or oversee the production of a new show.

From 1956 to the end of the 1960s when ill health began to affect his work, Coward also became a film celebrity, starring in films such as Around the World in 80 Days, Our Man in Havana, and The Italian Job. And from the mid-1960s, revivals of his pre-war plays, as well as revues of his work became highly popular on both sides of the Atlantic. Towards the end of his life, he was dubbed the greatest living English dramatist, and Time magazine said of his best work it ‘seemed to exert not only a period charm but charm, period.’ He was knighted in 1969, and died on 26 March 1973. His estate was then administered by Graham Payn, Coward’s companion since the 1940s and 20 years his junior. Further information is available from Wikipedia, Musicals101 or the Noel Coward Society.

Part of Coward’s estate included 30 years worth of diaries. These were edited by Payn and Sheridan Morley for publication by Weidenfeld & Nicolson in 1982 as The Noël Coward Diaries. In their introduction, the editors summed up the author as ‘playboy of the West End world, jack of all its entertainment trades and master of most’ and ‘the most ineffably elegant and ubiquitous of entertainers’. In a second edition, brought out in 2000, the American theatre critic John Lahr observed that all of Coward’s diaries were written with a view to posterity, and as part of his ‘charm offensive’. A few pages can be read at Amazon.

7 November 1954
‘On Monday I appeared at the Royal Command Performance at the Palladium. It was a glittering occasion, crammed with stars, all shaking aspens. The moment I arrived in the dressing-room and found Bob Hope tight-lipped, Jack Buchanan quivering and Norman Wisdom sweating, I realized that the audience was vile, as it usually is on such regal nights. In the entr’acte Cole and Charles came round from the front and said it was the worst they had ever encountered and that I was to be prepared for a fate worse than death. This was exactly what I needed and so I bounded on to the stage like a bullet from a gun, sang ‘Uncle Harry’, ‘Mad Dogs” and ‘Bad Times’ very, very fast indeed and got the whole house cheering! I was on and off in nine and a half minutes. The next day the papers announced, with unexpected generosity, that I was the hit of the show. This was actually true but it wouldn’t have been if I had stayed on two minutes longer. Bob Hope had them where he wanted them, and then went on and on and lost them entirely. [. . .] After the show we lined up and were presented to the Queen, Prince Philip and Princess Margaret. The Queen looked luminously lovely and was wearing the largest sapphires I have ever seen. She was very charming, everyone was very charming, and that was that.’

5 June 1957
‘London has changed, even in eighteen months; the traffic is appalling and all elegance has fled from the West End. Coventry Street, Piccadilly Circus, Leicester Square and Shaftesbury Avenue have acquired a curious ‘welfare state’ squalor which reminds me of Moscow.’

1 February 1959
‘I have a charming suite here [at the Ritz hotel] and I much prefer it to the Dorchester. It is Edwardian in feeling and quiet and I have a brass ‘pineapple’ bed which makes me feel rather like the late Mrs George Keppel. I have definitely decided to do the Graham Greene film with Alex Guinness and Ralph Richardson. I have had two lunches with Carol [Reed, director of Our Man in Havana], who is treating me en prince. In fact in London this time I am definitely ‘hot’. Every time I go out I am beset with by reporters and photographers.’

16 December 1965
‘Sixty-six years ago today I was propelled from the womb. There were no electric trains, and motor cars were exciting curiosities. There was not even the thought of an aeroplane in the winter skies, and horse-buses clopped through the London streets. There were no buses in Teddington.’

31 December 1969
[This is the first entry since 7 September, and in fact his very last. His 70th birthday had occurred two weeks earlier and was the occasion of many social and artistic celebrations which he dubbed ‘Holy Week’.] ‘I opened the National Film Theatre season of my films with In Which We Serve, which I am the first to admit is a rattling good movie. I wept steadily throughout, right from the very beginning when they were building the ship in the shipyard. The BBC gave a terrific birthday party for me in the Lancaster Room at the Savoy which was a terrific success. My birthday lunch was given by the darling Queen Mother at Clarence House, where I received a crown-encrusted cigarette-box from her, an equally crown-encrusted cigarette-case from the Queen herself, and some exquisite cuff-links from Princess Margaret and Tony. During lunch the Queen asked me whether I would accept Mr Wilson’s offer of a knighthood. I kissed her hand and said, in a rather strangulated voice, “Yes, Ma’am.” Apart from all this my seventieth birthday was uneventful.’ [Nearly 30 years earlier, George VI had wished to award Coward a knighthood, but had been dissuaded by Winston Churchill.]

This article is a slightly revised version of one first published on 26 March 2013.

I have been relapsing

‘All my associations here are bad, and I can hardly shake them off. All the old feelings I have been trying to get rid of, seem revived: particularly vanity and wandering of mind.’ This is a typical self-recriminating entry from the short diary of Richard Hurrell Froude, born 220 years ago today. He is remembered largely because of his early association with the Oxford Movement though he died very young, within a few years of its formation.

Froude, the son of a clergyman, was born on 25 March 1803, at Dartington, Devon, and educated at Eton and Oriel College, Oxford, where he came under the influence of John Keble. He was also a friend of Isaac Williams. Froude went on to become a Fellow of Oriel in 1826. In 1832, he went abroad for health reasons, accompanied by his father, Archdeacon Froude, and John Henry Newman.

Not long after their return, Froude, Keble, Williams and others founded the so-called Oxford Movement for high church Anglicans wishing to move closer towards Anglo-Catholicism. Froude is particularly remembered for his essays in the Tracts of the Times which advanced the Oxford Movement’s opinions.

Still suffering from consumption, Froude went abroad again, this time to Barbados, but, not long after returning to England, he died at his father’s house in Devon in 1836. Further information is available from Wikipedia, the Anglican History website or the Bureau of Public Secrets.

Froude’s colleagues decided to include his short diary, which is full of self-recrimination, with his literary remains, published the year after his death in several volumes. Here are a few extracts from the start of the diary and one from near the end (all contained in the first of the volumes and freely available at Internet Archive).

2 January 1826
‘I ought to read six hours a day.’

1 February 1826
‘Oxford. All my associations here are bad, and I can hardly shake them off. All the old feelings I have been trying to get rid of, seem revived: particularly vanity and wandering of mind. I do not really care for any of their opinions; and I will try to act as if “I had root in myself.” I will try to do steadily what I ought to do; and, as far as I can control the impulse of the moment, will never let a desire to obtain their good opinion be the motive of any of my slightest actions.

I ought to spend an hour at Bp. Butler, or Lloyd, and an hour at Greek Testament, two hours at Greek classics, one hour at Latin, and as much time more as I can about my prize, &c.’

21 February 1826
‘I have been relapsing into idle ways, but will try to turn over a new leaf.’

23 February 1826
‘I have had a long idle fit, partly caused by circumstances; but I shall not throw it off without recording an idle day. K. says I ought to attend to nothing but my essay, till I have finished it.’

30 March 1826
‘The standing for the fellowship is over, and I have done a great deal better than I expected: I am silly enough to be nervous about the event; but I hope it is not for my own sake. I know it will be, in the best way, for my interest, if I do my part. It will not be any excuse for my past idleness if I succeed; and I am resolved at any rate to make a better use of my time for the future. I put this down to try to keep myself from caring for the event; but I am afraid it is of no use. It is one o’clock; it will be settled in ten hours.’

10 April 1826
‘I have had so long a spell of idleness, that I hardly know how to set to work to-day. I will try to make a good beginning to-morrow.’

12 April 1826
‘I have been a fool, and argued when it was bad taste to do so.’

11 May 1826
‘I have allowed myself to relapse into a most lax way, by idle speculations, and feel all the habits of regularity, which I have been trying for, deserting me.’

1 July 1826
‘I have got into a bad way, by writing down the number of hours. It makes me look at my watch constantly, to see how near the time is up, and gives me a sort of lassitude, and unwillingness to exert my mind.

I think it will be a bettor way to keep a journal for a bit, as I find I want keeping in order about more things than reading. I am in a most conceited way, besides being very ill-tempered and irritable. My thoughts wander very much at my prayers, and I feel hungry for some ideal thing, of which I have no definite idea. I sometimes fancy that the odd bothering feeling which gets possession of me is affectation, and that I appropriate it because I think it a sign of genius; but it lasts too long, and is too disagreeable, to be unreal. There is another thing which I must put down, if I don’t get rid of it before long: it is a thing which proves to me the imbecility of my own mind more than anything; and I can hardly confess it to myself; but it is too true.’

5 July 1826
‘Yesterday I was very indolent, but rather better; and then began to-day with the same slly idea in my mind; I will write it down if it bothers me much longer: but my energies were rather restored by reading some of my Mother’s journal at Vineyard. I did not recollect that I had been so unfeeling to her during her last year. I thank God some of her writings have been kept; that may be my salvation; but I have spent the evening just as idly as if I had not seen it. I don’t know how it is, but it seems to me, that the consciousness of having capacities for happiness, with no objects to gratify them, seems to grow upon me, and puts me in a dreary way.

Lord, have mercy upon me.’

7 July 1826
‘Spent the morning tolerably well; read my Mother’s journal and prayers, two hours: I admire her more and more. I pray God the prayers she made for me may be effectual, and that her labours may not be in vain; but that God in His mercy may have chosen this way of accomplishing them; and that my reading them so long after they were made, and without any intention of her’s, may be the means by which the Holy Spirit will awaken my spirit to those good feelings which she asked for in my behalf.

I hope, by degrees, I may get to consider her relics in the light of a friend, derive from them advice and consolation, and rest my troubled spirit under their shadow. She seems to have had the same annoyances as myself, without the same advantages, and to have written her thoughts down, instead of conversation.

As yet they have only excited my feelings, and not produced any practical result.

How immeasureably absurd will all this appear to me before long! Even writing it has done me good; I say this, that, when I read it over at some future time, I may not think I was a greater fool than I really was.’

25 March 1828
‘I am to day twenty-five years old; I have begun it with a specimen of my state. I did not know this morning that it was either my birthday or the Annunciation: and yet all the term, I have watched for the approach of Saints’ days for weeks before hand, while I had a holiday in prospect. This is very humiliating, and upon the whole I have every reason to be dissatisfied with myself for the conduct of this year.’

This article is a slightly revised version of one first published on 25 March 2013.

Sedaris gets the call

‘Roger Donald called from Little, Brown to say that he would like to negotiate a two-book deal. To celebrate, I bought a denim shirt, and thought it amazing how quickly one’s life can change. I never thought I’d want a denim shirt.’ This is from the diaries of the American humorist, David Sedaris, who, exactly 30 years ago today, discovered he would finally be a published author.

Sedaris was born in Johnson City, New York, in 1956 to an IBM engineer of Greek heritage and his Anglo-American wife. He grew up in a suburban area of Raleigh, North Carolina with five siblings. He attended Western Carolina University and Kent State University before dropping out in 1977. After dabbling in visual and performance art, he moved to Chicago in 1983 and graduated from the School of the Art Institute in 1987. While scraping a living from odd jobs (not least dressing up as a Christmas elf) he was invited by a local radio host, Ira Glass, to appear on a weekly programme, The Wild Room. This led on to a regular slot, edit by Glass, with National Public Radio. 

Sedaris moved to New York in 1991, and in 1993, he signed a two-book deal with Little, Brown and Company. Many of his essays began appearing in main stream magazines, such Harper’s, The New Yorker, and Esquire. His first book - Barrel Fever - came out in 1994, and Naked followed in 1997. In 2001 he was awarded the Thurber Prize for American Humor. Dress Your Family in Corduroy and Denim came out in 2004. His recording of pieces from the book was nominated for a Grammy Award for best spoken-word album; and his Live at Carnegie Hall received a Grammy nomination for best comedy album. Further successful books followed, including a collection of entries from his diaries. His most recent publication was Happy-Go-Lucky in 2022. Since 2019, he has lived in Rackham, West Sussex, England, with his longtime partner, painter and set designer Hugh Hamrick. For further information see Wikipedia, Encyclopaedia Britannica or his own website. 

Sedaris has been a committed diarist for most of his life, indeed his very first broadcasts were based on extracts from the diaries. In 2017, Little, Brown published a collection of edited extracts from the diaries: Theft by Finding Diaries: Volume One. The book can be sampled at Googlebooks and the full work can be digitally borrowed online at Internet Archive.

Here is part of Sedaris’s introduction explaining how and why he keeps a diary.

‘Not long after deciding to release a book of diary entries. I came upon a five-pound note. I’d been picking up trash alongside a country road in West Sussex, and there it was between a potato-chip bag and a half-full beer can that had drowned slugs in it. Given the exchange rate, the bill amounted to around $8.15, which, as my mother would have said, “Ain't nothing”. A few days later I met with my friend Pam in London. The subject of windfalls came up. and when I mentioned the money she asked if I’d spent it.

“Well, of course.” I said. 

“In the U.K. if you discover something of value and keep it. that’s theft by finding,’ she told me. “You’re supposed to investigate whether it was lost or stolen, though in this case - five pounds - of course you’re fine.’

Theft by Finding. It was, I thought, the perfect title for this book. When it comes to subject matter, all diarists are different I was never one to write about my feelings, in part because they weren’t that interesting (even to me) but mainly because they were so likely to change Other people’s feelings, though, that was a different story. Got a bone to pick with your stepmother or the manager of the place where you worked until yesterday? Please, let's talk! If nothing else, a diary teaches you what you’re interested in. Perhaps at the beginning you restrict yourself to issues of social injustice or all the unfortunate people trapped beneath the rubble in Turkey or Italy or wherever the last great earthquake hit. You keep the diary you feel you should be keeping, the one that, if discovered by your mother or college roommate, would leave them thinking. If only I was as civic minded/bighearted/philosophical as Edward! 

After a year, you realize it takes time to rail against injustice, time you might better spend questioning fondue or describing those ferrets you couldn’t afford. Unless, of course, social injustice is your thing, in which case - knock yourself out. The point is to find out who you are and to be true to that person. Because so often you can’t. Won’t people turn away if they know the real me? you wonder. The me that hates my own child, that put my perfectly healthy dog to sleep? The me who thinks, deep down, that maybe The Wire was overrated? 

What I prefer recording at the end - or, more recently, at the start - of my day are remarkable events I have observed (fistfights, accidents, a shopper arriving with a full cart of groceries in the express lane), bits of overheard conversation, and startling things people have told me. These people could be friends but just as easily barbers, strangers on a plane, or cashiers. A number of their stories turned out to be urban legends: the neighbor of a relative whose dead cat was stolen from the trunk of a car, etc. I hope I’ve weeded those out. Then there are the jokes I’ve heard at parties and book signings over the years. They were obviously written by someone - all jokes are - but the authors are hardly ever credited in the retelling. 

Another thing I noticed while going through my forty years of diaries is that many of the dates are wrong. For instance, there might be three October 1, 1982s This was most likely because I didn’t know what day it was. Time tends to melt and run together when you don’t have a job. In that prelaptop era, you had to consult a newspaper or calendar to find out if it was Wednesday the eighth or Thursday the ninth. This involved getting up, so more often than not, I’d just stay put and guess. Quite often I’d even get the month wrong.

It might look like my average diary entry amounts to no more than seven sentences, but in fact I spend an inordinate amount of time writing about my day - around forty-five minutes, usually. If nothing big happened, I'll reflect on a newspaper article or a report I heard on the radio I’m not big on weather writing but have no policy against it. Thus when life gets really dull. I’ll just look out the window and describe the color of the sky. That will lead to something else, most often: a bird being mean to another bird or the noise a plane makes.’

And here are several extracts from the diaries including those in which he writes about his first book deal, some three decades ago.

7 June 1987, Chicago
‘I dared myself to lean too hard against one of the living-room windows yesterday, and it broke and cut my elbow up. Later in the afternoon I took the empty frame to the hardware store, where they said it would cost $30 for new glass. That seemed exorbitant to me, so I was walking back home by way of the empty lot when an American Indian woman grabbed on to it, saying she’d been looking for a window frame just like this. “I need it,” she said. “Hand it over.” Her face was strikingly flat, and for a second all I could do was stare at it.

The woman was holding a beer bottle and put it down so she could grab my window frame with both hands. “Turn it loose,” she said, and the several drunk people behind her cheered her on. Then a man who was slightly less drunk told her to let it go. “Leave him alone, Cochise,” he said. “This here’s a working man.”

I haven’t worked in more than three weeks, but it was nice to be mistaken for someone with a job. Today I took the frame down a different street to the L, where I thought I’d try another hardware store. Right near the station a man asked me for money, and when I walked by he shouted, “Watch where you’re going with that thing, asshole! You almost killed that girl. You almost hit her with that window, you fucker.”

I said, “What?”

“You just about hit that baby, you son of a bitch. I’m going to kill you. I’m going to teach you a lesson you’ll never forget, you little fuck. You can’t get away from me.”

The guy was really beside himself, and I’m lucky I was so close to the ticket window. I worried he’d panhandle enough money to reach the platform before the train arrived, but luckily he didn’t. And what baby? I didn’t see any baby.

Why did I have to break that window, and on a dare, for God’s sake?’

13 February 1989, Chicago
‘Tonight at Barbara’s Bookstore, Tobias Wolff read from his new memoir, This Boy’s Life. All the seats were taken, so I sat on the floor in the front and tried to act normal. I was too shy to say anything when I got my book signed, afraid that if I started talking, everything inside me would just spill out.

He seemed like a kind person and wore a turtleneck, a plaid shirt, a tweed jacket, and jeans with black socks and running shoes. I have to be his biggest fan.’

12 July 1990, Chicago
‘For the third time this week, a man approached me and asked if he could have $1. He pointed to a van and said that it was his. “It broke down and if I don’t get to work, I’m in big trouble.”

Each time it’s a different guy, but it’s always the same van. A scam, obviously, but even if the story was true, who goes to work with no money in his pockets? What if you ran out of gas?

When I taught my night class in the Fine Arts Building, I was often asked for money by a woman who said she’d been robbed and needed to take a commuter train to one of the northern suburbs. Even the first time I saw her I thought, Really? You can’t call a friend or a family member? You’re honestly going to hit up total strangers for your fare? Like the men with the van, she was always well dressed and acting frantic.’

16 October 1991, New York
‘Amy and I walked up 8th Avenue to Intermezzo, where Hugh and his friend Sue were having lunch. “Here you are!” Amy shouted. “Just what do you think you’re doing? You can’t afford to be eating here, not when I’ve got a five-month-old baby waiting in the car. And wine too! You’re drinking wine! I hate being your sponsor, I really do.” Everyone stared and Hugh turned bright red.

Afterward I went to Macy’s, where I filled out umpteen forms, peed into a jar, and had my eyes tested. This year, as a returning elf. I’ll make $9 an hour. Regular Christmas help gets only $6.’

16 January 1993, New York
‘Helen’s forty-two-year-old nephew was a public-school teacher and today he died of AIDS. I said I was sorry to hear it and Helen said, “The bastard. Thought he was Mr. Big because he had an education, but where’s him and his college degree now? In the ground, that’s where. The last time I saw him, I called out, ‘Tommy!’ but he kept on walking. I say, ‘Fuck you, Mr. Smart.’ Yeah, we all know how smart he was now.” ’

24 February 1993, New York
‘This was an amazing New York day. In the morning I met with Geoff Kloske, the editorial assistant from Little, Brown who called a few weeks back to ask if he could read my manuscript. He’s only twenty-three, a kid, and has a grandmother in Jacksonville, North Carolina. We had coffee and afterward he took me to meet his boss, Roger, a big, good-looking chain-smoker who said that he, too, liked my manuscript and hopes to get back to me within a week or two.

Afterward I went to our play rehearsal (for Stump the Host). We open a week from tomorrow.’

8 March 1993, New York
‘The night before the play opened (at La MaMa), William dropped out, saying he wasn’t having much fun. “And if it’s no fun, why bother?”

I spent some time panicking and then decided to take the part myself, seeing as I know the lines. So I performed on Thursday, Friday, and Saturday. Opening night we had fourteen people in the audience. On Friday, there were forty, and on Saturday we were sold out. Meryl has extended our run, and thankfully Paul Dinello has agreed to take over my part. Hugh and Amy say, “Oh, you know you love being onstage.” But they’re wrong. I don’t. Not like that, anyway.’

9 March 1993, New York
‘Roger Donald called from Little, Brown to say that he would like to negotiate a two-book deal. To celebrate, I bought a denim shirt, and thought it amazing how quickly one’s life can change. I never thought I’d want a denim shirt.’

13 March 1993, New York
‘I met on Thursday afternoon with Don Congdon, the agent Roger Donald recommended. He proposed lunch and took me to Le Madri, an Italian place near his office and the fanciest restaurant I’ve been to in New York. Don is in his late seventies and was very elegantly dressed. A fine suit, a Pucci tie, a topcoat, even a black beret. The maître d’ knew him. “Right this way, Mr. Congdon.”

Our waiter poured olive oil onto a plate and then gave us bread, which I guessed we were supposed to dip into it. I had thinly carved steak arranged into a turban with grilled radicchio and endive. Don had pasta that he didn’t finish.

While eating, I learned that he represents William Styron, Russell Baker, Ellen Gilchrist, and Thomas Berger. He represented Lillian Hellman for a production of The Little Foxes in, I think, Russia, and Frank O’Connor. He told stories about wandering through the Village with J. D. Salinger, whom he called Jerry, and recounted the night the two of them went to hear Billie Holiday. I heard of the time Don was arrested by the vice squad during Prohibition, and then something about Dashiell Hammett. The problem was that it was all about the past. That said, I liked his language, especially his old-fashioned slang.’

30 April 1993, New York
‘Between cleaning jobs, I bought a coffee and sat in Union Square Park to read for a while. The benches there are sectioned off with armrests - this to prevent people from stretching out and sleeping, I imagine. I’d just lit a cigarette when a guy approached - wiry, around my age, wearing soiled white jeans and a Metallica T-shirt. His hair fell to his shoulders, he had a sketchy mustache, and he was carrying a paper bag. Ex-convict, I thought. It was a snap assessment, but I’m sticking by it.

The guy asked for a cigarette, and when I handed him one, he took it without thanking me. Then he pointed to my bag of cleaning supplies, made a sweeping gesture with his hand, and said, “I’m going to sit down there.”

There were plenty of other benches, so I said no.

“Goddamn it,” he said. “I told you to move your fucking shit.”

I got up and left, knowing that if I hadn’t moved my bag, he would have thrown it. If, on the other hand, I had moved it, he would have sat beside me and continued asking for things. All afternoon I thought about it and wished that I knew how to fight.’

8 January 1994, New York
‘Stitches (our play) opened Thursday night to an audience of fifty. La MaMa can squeeze in 120, so this wasn’t so bad. Friday was sold out, as was tonight. The Times came last night; tonight it was Newsday and the Voice. I want to tell them we were just joking. It’s not a real play, it’s what comes from doodling while you’re holding a bong. Whatever they have to say, it’s out of my control now and in the hands of the actors. My job is to play the host and greet people at the door as they enter.’

27 December 1994, New York
‘Christmas afternoon. Dad pulled out his film projector and a half dozen Super 8 movies from the late ’60s and early ’70s. I recall him standing in front of us with the camera back then, but, like the photos he takes of us on the stairs every year, I never knew what became of them. Two friends of Lisa’s had dropped by, and though nothing could be duller than watching someone else’s home movies, none of us cared. The moment we saw Mom, we forgot about our guests. They mumbled something on their way out - “Merry Christmas,” or maybe “Your kitchen is on fire,” whatever.

I never knew my mother had been captured on film moving. The first reel was from St. John in 1972. Mom Dad, Aunt Joyce, and Uncle Dick. We see the island. Boats. More island. More boats, and then there’s Mom, who waves good-bye before ducking into a thatched hut. Then the camera is handed to someone else, and we see Dad pull her out. He is young and handsome - he is always handsome. When he points at the camera. Mom buries her head in his chest. Then he lifts her chin and they kiss.

Watching this, Dad stomped his foot on the floor, the way you might if you just missed the bus and knew that another wasn’t coming for a long while. He rewound the film and replayed it a second time, then a third.

“Again,” we called. “Play it again.” To see them both on an island, so young and happy. I couldn’t believe our luck: to have this on film!’

28 August 2002, Paris
‘Shannon called to tell me I’m at number nine. This makes fifty-two weeks - a year on the Times paperback list. While she was very excited and congratulatory, the news left me slightly embarrassed, the way you feel when you’ve stayed too long at the party and notice your hosts looking at their watches. The hosts, in this case, are all the superior writers whose books haven’t sold more than a few thousand copies. On the bright side, I think I can write something much better than Me Talk Pretty. And if it fails and no one buys it, I can really feel good about myself.’