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The Journal of William Morris Studies

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The Journal of William Morris Studies The Journal of William Morris Studies volume xix number 3 winter 2011 Special Issue: ‘Morris the Green’ Editorial Patrick O’Sullivan 5 ‘The author of the Earthly Paradise by Dante Gabriel Rossetti’. A newly- discovered drawing of William Morris. Jan Marsh 7 The Journal of the William Morris Ssciety Martin Crick 12 ‘Morris the red, Morris the Green’ – a partial review Patrick O’Sullivan 22 Morris after Marcuse: Art, beauty, and the aestheticist tradition of ecosocialism Bradley MacDonald 39 The dialectic of nature in Nowhere Tony Pinkney 50 Green cosmopolitanism in Morris’s News from Nowhere Eddy Kent 64 A darker shade of green: William Morris, posthumanism, and ecotastrophe Jed Mayer 79 the journal of william morris studies .winter 2011 ¡Homenaje a Aragón! News from Nowhere, collectivisation and the sustainable future Patrick O’Sullivan 93 William Morris: An Annotated Bibliography 2008-2009 David and Sheila Latham 112 Reviews. Edited by Peter Faulkner Florence S. Boos, Socialist Aesthetics and The Shadows of Amiens (John Purkis) 141 Lavinia Greenlaw, ed, Questions of Travel: William Morris in Iceland (John Purkis) 143 Anna Vaninskaya, William Morris and the Idea of Community: Romance, History and Propaganda, 1880-1914 (Ruth Kinna) 144 Yisrael Levin, ed, A.C. Swinburne and the Singing Word (Richard Frith) 148 Karen Livingstone, The Bookplates and Badges of C.F.A. Voysey, Architect and Designer of the Arts and Crafts Movement (John Purkis) 152 Linda Parry & David Cathers, Arts and Crafts Rugs for Craftsman Interiors (Peter Faulkner) 154 Christopher Frayling, On Craftsmanship: towards a new Bauhaus (Jim Chesh- ire) 157 Tony Pinkney, William Morris: The Blog. Digital ReXections 2007-2011 (Peter Faulkner 159 Paul Farley & Michael Symmonds Roberts, Edgelands: Journeys into England’s true wilderness; Owen Hatherley, A guide to the new ruins of Great Britain (Martin Stott) 162 Errata 166 Guidelines for Contributors 167 2 contents Notes on Contributors 169 issn: 1756-1353 Editor: Patrick O’Sullivan ([email protected]) Reviews Editor: Peter Faulkner ([email protected]) Designed by David Gorman ([email protected]) Printed by the Short Run Press, Exeter, UK (http://www.shortrunpress.co.uk/) All material printed copyright the William Morris Society. 3 Editorial Patrick O’Sullivan It is my greatest pleasure to be able to introduce a special issue on the ‘green’ ideas of William Morris – an idea I have long nurtured. And it seems to me entirely appropriate that the Wftieth anniversary issue of the Journal should be the Wrst devoted almost exclusively to the greener aspects of Morris’s thought, especially as next year marks the same anniversary of the publication of Silent Spring, the book most widely crediting with triggering the modern environmental move- ment.1 It has been said many times, and by better Morris scholars than me, that it is impossible to categorise Morris, as he was such a many-sided Wgure. At a time when green ideas scarcely existed, May Morris described her father as ‘Artist, writer, socialist’, but much more recently, Fiona MacCarthy still chose to portray him as ‘designer, poet, businessman’, ‘appropriated’ by greens. But it may be that, in the long run, it is the green aspects of Morris’s thought which prove to be the most important, still ‘beckoning us forward’.2 In this issue we also commemorate the Wftieth anniversary of the Journal by printing, as explained by Jan Marsh, a previously unpublished image of Morris by D.G. Rossetti recently come to light. Martin Crick provides a fascinating his- tory of the Journal – an article kindly compiled at a time when he was also very busy with the late stages of production of his history of the Society. 3 I then give a partial review, in more than one sense, of the development of ideas of ‘Morris the Green’. Bradley MacDonald next examines the parallelisms between Morris’s aesthetic and his ‘green’ ideas and those of Herbert Marcuse, a man, like Ruskin before him, whose star has now fallen very low, but whose name was on all our lips back in 1968. (How many of us had actually read him, I wonder?). Tony Pinkney then discusses the ‘Nowherian dialectic of Nature’ – Wrst as liberation, second as late Morrisian romance, third as romance landscape, but fourth in an entirely new concept of Nature, ‘disastrously troubling’, and Eddy Kent considers the possibilities of News from Nowhere enabling us to incorporate the natural world into the political arena; to achieve ‘a green cosmopolitanism’. Jed Mayer then compares News from Nowhere with much darker contemporary accounts such as After London, which he intriguingly labels ‘ecogothic’. Finally, I oVer my own comparison of News from Nowhere with a concrete if short-lived 5 the journal of william morris studies .summer 2011 utopia; the collectives which brieXy Xourished in several parts of the Republican zone during the Spanish Civil War. Articles culminate in the Wfteenth instalment of David and Sheila Latham’s invaluable annotated bibliography of Morris. We also carry reviews of books on Morris in Iceland, and on Morris and the idea of community, something in which his Icelandic experience surely played a part. Publications on Morris’s contemporaries reviewed consist of volumes on the late poems of Algernon Charles Swinburne, and on the bookplates and badges of C.F.A. Voysey. Morris’s craft legacy is once more considered in reviews of books on Arts and Crafts rugs, and on ‘Craftsmanship’, but we follow these with examination of a much more recent phenomenon – the blog. Finally, as part of ‘Morris the Green’, Martin Stott reviews books on the recent degenera- tion of Britain’s urban environment: on the concurrent decline of the rural Eng- land Morris lovingly included in News from Nowhere, and on the ‘edgelands’ – those neglected corridors – railway embankments and cuttings, canal towpaths, motorway verges – which connect the urban and the rural, sometimes containing highly valuable habitats, also discussed some years ago by Richard Mabey as The UnoYcial Countryside. Over the next decades, we are faced with a stark choice – between continued exponential growth and ‘progress’ on a Wnite planet, or true sustainability: or as Morris put it, ‘So what shall we have, art or dirt?’4 I see this issue as one contribu- tion, however small, to our making the correct choice. notes 1. Rachel Carson, Silent Spring, New York: Houghton MiZin, 1962, 304 pp. 2. May Morris, William Morris. Artist, Writer, Socialist. Oxford: Basil Blackwell, 1936, 2 vols; Fiona MacCarthy, William Morris. A life for our time. London: Faber & Faber, 2003, page viii; E.P. Thompson, William Morris: Romantic to Revolutionary, New York: Pantheon, 1976, p. 730. 3. Martin Crick, The History of the William Morris Society 1955-2005, London: William Morris Society (forthcoming). 4. ‘Art and the Beauty of the Earth’, 1881, The Architect, October (pp. 282- 284), November (pp. 297-298); http://www.marxists.org/archive/morris/ works/1881/earth.htm (as accessed 23 June 2011). 6 ‘The author of the Earthly Para- dise by Dante Gabriel Rossetti’: A newly-discovered drawing. Jan Marsh A hitherto unknown portrait sketch of William Morris by Dante Gabriel Ros- setti (Figure 1) has been discovered in a copy of The Earthly Paradise once owned by Louisa Crabbe. Both book and drawing are in the Mark Samuels Lasner Collection, which is on loan to the library of the University of Delaware. We are grateful to Mark Samuels Lasner, discoverer of the drawing, for permission to publish it here. The pencil drawing is rough, almost scribbled. It depicts a half-length bearded Wgure, full-face, with unruly hair, hands clasped on his chest, holding two ill-deWned objects, one a stick with a rounded end, the other shaped like a balloon. The background is Wlled with a diaper pattern. It is on a sheet measuring Wve by four-and-half inches (127 x 114 mm), which is the back of a printed page, cut or torn from a book, and is lightly pasted on to the title-page verso of Volume I of the Wrst edition of The Earthly Paradise published by F.S. Ellis in Spring 1868; this one is from the special edition of twenty-Wve large paper copies printed on Whatman paper. On the title page is the signature and date ‘Louisa Crabbe / 1869’. The printed page on the back of the sheet is from William Makepeace Thack- eray’s poem, ‘The End of the Play’, written and published in 1848. The page, num- bered 159, is either from a Christmas book issued containing the ballad in 1848, or a later reprint. The sketch is drawn within a double-line border, below which is the pencil inscription ‘The author of the Earthly Paradise by / Dante Gabriel Rossetti. 1858’. The inscription appears to be in Louisa Crabbe’s hand, and the inference is that it was added to an uninscribed drawing when she acquired her copy of Morris’s work in 1869, and decided to insert the loose sheet. The authorship and likeness are convincing when set beside Rossetti’s other sketches of Morris, mainly caricatures. The hair is drawn with the same circling 7 the journal of william morris studies .winter 2011 Figure 1: The author of the Earthly Paradise by Dante Gabriel Rossetti, 1858. By kind permission of Mark Samuels Lasner 8 the author of the earthly paradise strokes as that in the undated image known as ‘William Morris Presenting a Ring to his Future Wife’ drawn in Oxford either in October 1857 or early the following year when Morris became engaged to Jane Burden.1 How did Louisa Crabbe acquire the drawing of Morris, and how reliable is the inscription? Certainly, Louisa Crabbe, better known in Pre-Raphaelite circles by her stage name Ruth Herbert, was in contact with Rossetti by 1858, for in the summer of that year she agreed to sit to him for the head of Mary Magdalene in a projected painting.
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