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89-90. 1964), P. 140. P. 55. P. 20. 1967), P. 45. P. 483 Notes Introduction: Place&, Tribe&, Dialect& 1. Dylan Thomas, 'A Visit to America', Dylan Thomas Reading, Vol. 4, Caedmon, TC 1061, n.d. 2. Patrick White, 'The Prodigal Son', in Patrick White Speaks (Sydney: Primavera Press, 1989), p. 13. 3. As David Marr shows, White failed to acknowledge his mother's assiduous promotion of his writing, particularly his juvenile poetry. Marr, Patrick White: A Life (Sydney: Random House, 1991), pp. 89-90. 4. Colin Mcinnes et al., Australia and New Zealand (New York: Time, 1964), p. 140. 5. Mcinnes, pp. 52-5. 6. Patrick White, Flaws in the Glass (New York: Viking, 1981), facing p. 55. 7. Osbert Sitwell, Introd., Escape with Me (London: Macmillan, 1940), p. 20. 8. Virginia Woolf, The Yean (London: Hogarth Press, 1965), p. 241. 9. White, Flaws, pp. 52-8. 10. See photograph in White, Flaws, facing p. 150. 11. Ezra Pound, Letter to James Joyce, [between 6 and 12] September 1915, in Forrest Read, ed., Pound/joyce (New York: New Directions, 1967), p. 45. 12. White, Flaws, p. 123. 13. Sitwell, Escape with Me, pp. 3-4. 14. The term 'poofteroos', Australian slang for homosexuals, occurs in White's The Solid Mandala (Harmondsworth: Penguin, 1969), p. 9. 15. T. S. Eliot, 'Ulysses, Order and Myth', The Dia4 75 Quly/Dec. 1923), p. 483. 16. White, 'The Prodigal Son, p. 15. 17. Patrick White, The Ploughman and Other Poems, illus. by L. Roy Davies (Sydney: Beacon Press, 1935), n. pag. 18. Raymond Williams, Culture and Society (New York: Columbia Univer­ sity Press, 1960), p. 207. 19. F. R. Leavis and Denys Thompson, Culture and Environment (London: Chatto & Windus, 1933), p. 87. 170 Notes 171 20. Leavis, Culture and Environment, p. 85. 21. Patrick White quoted on the dustjacket of Maurice Shadbolt, A Touch of Clay (London: Hodder and Stoughton, 1974). Chapter I: 'The English' Patrick White 1. See Carolyn Bliss, Patrick Whites Fiction: The Paradox ofFortunateFailure (London: Macmillan, 1986), p. 15. 2. Marr, Patrick White, p. 162. 3. William Empson, 'Proletarian Literature' in Some Versions of Pastoral (Harmondsworth: Penguin, 1966), pp. 11-25. 4. Marr, Patrick White, between pp 216-17. 5. T. E. B. Howarth notes thatJ M. Reeves 'solemnly pronounced the final epitaph of Georgian poetry in Granta as follows: "I suppose the last word on Georgian poetry has been said a great many times"'. See Howarth, Cambridge Between Two Wan (London: Collins, 1978), p. 69. 6. John Davenport et al., Editorial, Arena, 2 (Autumn 1949), p. 3. 7. Cecil Day Lewis, 'Letter to a Young Revolutionary', New Country, ed., Michael Roberts (London: Hogarth Press, 1933), p. 40. 8. F. R. Leavis, 'Mass Civilization and Minority Culture', For Continuity (London: The Minority Press, 1933), pp. 13-46. 9. Spender wrote an equivocal apologia, Forward from Liberalism (Lon­ don: Gollancz, 1937). He notes there that 'the liberal individualist who turns towards communism is in a peculiar, isolated position', p. 175. 10. Aldous Huxley, Ends and Means (London: Chatto & Windus, 1937), p. 274. 11. Graham Greene, Introd., Journey Without Maps, 2nd edn. (1936; rpt. London: Heinemann, 1978), p. ix. 12. Christopher Isherwood, Lions and Shadows (London: Hogarth Press, 1938), pp. 75-6,207. George Orwell shared this feeling. See Richard Rees, George Orwell: Fugitive from the Camp of Victory (Carbondale: Southern Illinois Press, 1967) pp. 145-6. 13. Virginia Woolf, A Letter to a Young Poet (London: Hogarth Press, 1932), p. 26. 14. W. H. Auden and Cecil Day Lewis, Preface to Oxford Poetry 1927 (Oxford: Basil Blackwell, 1927, p. v; rpt., Samuel Hynes, The Auden Generation: Literature and Politics in England in the 1930s (London: Bodley Head, 1976) Appendix A, pp. 397-8. 15. David Lodge, 'Modernism, Antimodernism, and Postmodernism', The New Review, 4, No. 38 (May, 1977), p. 41. 16. This phrase is scattered through Selected Letten of Malcolm Lowry, ed., Harvey Breit and Margerie Bonner Lowry (New York: Capricorn, 1969),pp.28,42, 115,143. 17. Michael Roberts notes that the figure of 'the returning hero' found in the poetry of Rex Warner, Auden, and Charles Madge 'is the 172 Notes antithesis of Eliot's Prufrock', 'The Return of the Hero', London Mercury, 31, No. 181 (1934), p. 72. 18. White, Flaws, pp. 123-4. 19. Barry Argyle, Patrick White (New York: Barnes and Noble, 1967), p. 15. 20. Bliss, Patrick Whites Fiction, p. 23. 21. Peter Wolfe, Laden Choirs: The Fiction of Patrick White (Lexington: University of Kentucky, 1983), p. 34. 22. White, 'The Prodigal Son', p. 16. 23. Patrick White, Happy Valley (London: Harrap, 1939), p. 115. All further references in the text. 24. White, Flaws, pp. 58-9. 25. White, Flaws, pp. 52, 63. 26. Patrick White, 'The House Behind the Barricades', New Verse, No.30 (Summer 1938), p. 9. 27. Geoffrey Grigson, 'Ucello on the Heath' and 'Mediterranean', New Verse, No. 30 (Summer 1938), p. 8. 28. Thelma Herring describes Elyot as 'a younger Prufrock' in 'Odyssey of a Spinster', in Ten Essays on Patrick White: Selected from 'Southerly' (1964-67), ed. G. A. Wilkes (Sydney: Angus and Robertson, 1973), P· 6. 29. 'I have never liked The Living and the Dealf, White, Flaws, p. 77. 30. W.H. Auden, 'September 1, 1939', WH. Auden: Selected Poems, ed., Edward Mendelson (New York: Vintage, 1979), p. 86. 31. T. S. Eliot, 'Gerontion', Selected Poems (London: Chatto & Windus, 1937), p. 273. 32. Cyril Connolly, Enemies of Promise (1938; rev. edn. 1948; reissued London: Andre Deutsch, 1973), pp. 70-1. 33. Patrick White, The Living and the Dead (New York: Viking, 1941), p.108. All further references in the text. 34. Malcolm Lowry, Letter to Albert Erskine, June 5, 1951, Selected Letters of Malcolm Lowry, p. 242. 35. James Joyce, Ulysses (New York: Random House, 1934), pp. 45-7. 36. See F. R. Leavis, 'Introductory: Life IS a Necessary Word', Nor Shall My Sword (London: Chatto & Windus, 1972), pp. 11-37. 37. W. H. Auden, Spain in Selected Poems, p. 54. 38. William Walsh, Patrick Whites Fiction (London: George Allen & Unwin, 1977), p. 7. Chapter 2: Pastoral and Apocalypse 1. Greene, Stamboul Train (London: Heinemann, 1932), pp. 79-80. 2. John Wain, Hurry on Down (London: Seeker and Warburg, 1955), p. 60. 3. See for instance: James Gindin, Postwar British Fiction (Berkeley: University of California Press, 1962), p. 11; Frederick R. Karl, The Contemporary English Novel (New York: Noonday Press, 1962), ch. 1; Rubin Rabonivitz, The Reaction Against Experiment in the English Novel, 1950-1960 (New York: Columbia University Press, 1967). Notes 173 Leslie Fiedler's 1968 comment that '[t]here is no scene in the arts in England' reflects a widespread American dismissal of the arts in England after the war. Fiedler's comment is found in 'The Invisible Country', New Statesman, 14June 1968, p. 810. 4. See for instance Bernard Bergonzi, The Situation of the Novel (London: Macmillan, 1970), pp. 57-8; William Cooper, 'Reflections on Some Aspects of the Experimental Novel', International Literary Annua~ No. 2, ed.,John Wain (London: John Calder, 1959), pp. 29-36. 5. Malcolm Bradbury, Possibilities (London: Oxford University Press, 1973),p.174. 6. See Bergonzi, Situation of the Nove~ pp. 61-2. 7. Bergonzi, Situation of the Novel, pp. 81-103, particularly pp. 92-3. 8. Margaret Drabble, BBC Radio Interview 1967, quoted in Bergonzi, Situation of the Nove~ p. 65; White 'The Prodigal Son', p. 16. 9. Malcolm Lowry, 'Through the Panama', in Hear Us 0 Lord From Heaven Thy Dwelling Place (New York: Lippincott, 1961), p. 85. 10. C. P. Snow, The Conscience of the Rich (London: Macmillan, 1958), p. 49. 11. Hermann Hesse, Demian, quoted in Malcolm Lowry, October Ferry to Gabriola (New York: World Publishing, 1970) p. 268. 12. Bradbury, Possibilities, p. 193. 13. Bradbury, Possibilities, p. 193. 14. Bradbury, Possibilities, p. 181. 15. Patrick White, The Aunts Story (New York: Viking, 1948), p. 12. All further references in the text. 16. George Lukacs, The Theory of the Novel, trans., Anna Bostock (Cam­ bridge: Mass.: MIT, 1977), p. 30. 17. Walter H. Sokel, The Writer in Extremis: Expressionism in Twentieth,. Century German Literature (New York: McGraw-Hill, 1959), p. 17. 18. Paul Klee, quoted in Herbert Read, A Concise History of Modern Painting (New York: Praeger, 1959), p. 180. 19. White, 'Prodigal Son', p. 16. 20. In Flaws in the Glass White confesses that he considered giving up writing altogether during the period in which he lived more or less isolated at Castle Hill, dejected by the indifference of Australian readers to The Aunts Story. See Flaws, pp. 143-4. 21. Patrick White, The Tree of Man (New York: Viking, 1955), p. 416. All further references in the text. 22. A. D. Hope, 'The Bunyip Stages a Comeback', Sydney Morning Herald, 16 June 1956, p. 15. 23. White, 'The Prodigal Son', p. 15. 24. White, 'The Prodigal Son', p. 15. 25. White, 'The Prodigal Son', p. 16. 26. White, 'The Prodigal Son', p. 15. 27. Harry Levin, james joyce (New York: New Directions, 1960), p. 4. 28. C. G. Jung, Psycholngy and Alchemy, trans., R. F. C., Hull, 2nd. edn. (London: Routledge and Kegan Paul, 1968), p. 54, passim. White mentions the influence of Psycholngy and Alchemy on The Solid Mandala in Flaws, p. 146. For a Jungian reading of White's work as a whole see 174 Notes David]. Tacey, Patrick White: Fiction and the Unconscious (Melbourne: Oxford University Press, 1988). 29. Iris Murdoch, Under the Net (London: Chatto & Windus, 1956), p. 21. 30. Patrick White, Voss (New York: Viking, 1957), pp 151-2. All further references in the text. 31. Flaws, pp. 185, 227-33. 32. 'When New Zealand is more artificial, she will give birth to an artist who can treat her natural beauties adequately.
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