Notes

Introduction

1. E.M. Forster, Howards End (London: Edward Arnold, 1910), pp.164–165. 2. Forster, Howards End, p.164. 3. Alun Howkins, ‘The Discovery of Rural England’, in Englishness, Politics, and Culture, 1880–1920, ed. by Robert Colls and Philip Dodd (London: Croom Helm, 1987), pp.66–88; Martin Wiener, English Culture and the Decline of the Industrial Spirit, 1850–1980, 2nd edn (Cambridge: Cambridge University Press, 2004). 4. Patrick Wright, The Village that Died for England, 2nd edn (London: Faber and Faber, 2002), p.xvi. Wright’s book focuses on the village of Tyneham and the area around Lulworth. 5. For a discussion of the genealogy of the term “microhistory”, see Carlo Ginzburg, ‘Microhistory: Two or Three Things That I Know about It’, in Threads and Traces: True False Fictive, trans. by Anne C. Tedeschi and John Tedeschi (Berkeley: University of California Press, 2012), pp.193–214. Ginzburg’s identification of a form of ‘narrative history’ that breaks with the narrative conventions of ‘late-nineteenth-century novels’ and does not transform ‘the gaps in the documentation into a smooth surface’ is particularly significant in this context. Ginzburg, ‘Microhistory’, p.204. 6. Ysanne Holt, British Artists and the Modernist Landscape (Aldershot: Ashgate Publishing, 2003), p.151. 7. Holt, British Artists, p.148. 8. Raymond Williams, ‘When Was Modernism?’, in The Politics of Mod- ernism: Against the New Conformists, ed. by Tony Pinkney (London: Verso, 1989), pp.31–35 (p.35). 9. Examples of these differences can be found in Kathleen Jamie’s crit- icisms of Robert Macfarlane in the London Review of Books (Kathleen Jamie, ‘A Lone Enraptured Male’, London Review of Books, 6 March 2008, pp.25–27), or Paul Farley and Michael Symmons Roberts’s sideswipe at those who try to ‘discover true solitude in the wilds of northern Scotland’ in Edgelands: Journeys into England’s True Wilderness (London: Jonathan Cape, 2011), p.8. 10. Macfarlane holds up this dying culture as one in which speech is ‘a way literally to en-chant the land – to sing it back into being, and to sing one’s being back into it’. Robert Macfarlane, ‘A Counter-Desecration Phrasebook’, in Towards Re-enchantment: Place and its Meanings, ed. by Gareth Evans and Di Robson (London: Artevents, 2010), pp.107–130 (p.114). 11. Macfarlane, ‘Counter-Desecration Phrasebook’, p.117. 12. Kathleen Jamie, ‘Pathologies: A Startling Tour of Our Bodies’, in Granta: The New Nature Writing, 102 (2008), 35–50.

144 Notes 145

13. Ken Worpole, ‘East of Eden’, in Towards Re-enchantment: Place and its Meanings, ed. by Gareth Evans and Di Robson (London: Artevents, 2010), pp.61–81 (p.65). 14. Paul Farley and Michael Symmons Roberts, Edgelands: Journeys into England’s True Wilderness (London: Jonathan Cape, 2011). 15. Farley and Symmons Roberts, Edgelands,p.9. 16. Derived from the Greek “chora”, place or country, as opposed to“geo”, earth. See Stan Mendyk, ‘Early British Chorography’, The Sixteenth Century Journal, 17 (1986), 459–481. 17. The Works of Michael Drayton, ed. by J. William Hebel, 5 vols (Oxford: Basil Blackwell, 1931–1941, repr. 1961), Vol. 4 (1933), Poly-Olbion,p.1.(Line8). 18. Poly-Olbion, p.1 (Lines 12–16). 19. Poly-Olbion, p.15. 20. Poly-Olbion,p.vi∗. 21. Poly-Olbion,p.i∗. 22. Poly-Olbion, p.viii∗. 23. Poly-Olbion, p.viii∗. 24. Anne Lake Prescott, ‘Marginal Discourse: Drayton’s Muse and Selden’s ‘Story”, Studies in Philology, 88 (1991), 307–328 (p.308). 25. I take the term ‘topographical-historical’ from Stan Mendyk, although when I apply it to modern and contemporary writing there is necessarily a stretching of what its constituent terms comprehend. See Mendyk, ‘Early British Chorography’, and Stan Mendyk, ‘Speculum Britanniae’: Regional Study, Antiquarianism, and Science in Britain to 1700 (Toronto: University of Toronto Press, 1989), pp.21–24. 26. Poly-Olbion, p.viii∗; on Selden’s non-linear history, see Prescott, ‘Marginal Discourse’, p.327. 27. Vernon Lee, The Golden Keys and Other Essays on the Genius Loci (London: The Bodley Head, 1925), p.x. 28. Lee, The Golden Keys,p.xi. 29. Vernon Lee, Genius Loci: Notes on Places (London: Grant Richards, 1899), p.5. 30. Lee, The Golden Keys, p.248. 31. Lee, The Golden Keys,p.xi. 32. Lee, Genius Loci, pp.7, 4. 33. Boym’s thinking in this area relates to the critic Victor Shklovsky, who was also using the concept of the knight’s move in his writ- ings of the 1920s. See Svetlana Boym, ‘The Off-Modern Condition’, Svetlanaboym.com [accessed 27 January 2012]. 34. Boym, ‘The Off-Modern Condition’. 35. Ian Davidson’s Ideas of Space in Contemporary Poetry (Basingstoke: Palgrave Macmillan, 2007) and Andrew Thacker’s Moving Through Modernity: Space and Geography in Modernism (Manchester: Manchester University Press, 2003) have both applied a range of spatial theorists to contemporary and modernist writers. 146 Notes

36. Michel de Certeau, The Practice of Everyday Life, trans. by Stephen Rendall (Berkeley: University of California Press, 1984), p.128. 37. de Certeau, Practice of Everyday Life, p.115. 38. de Certeau, Practice of Everyday Life, pp.129–130. 39. This idea of a triple tension is derived from Janet Wolff and Iain Biggs, who have both suggested that the essay should be pulled, as Biggs describes Wolff’s approach, ‘between three frames of reference: the auto- biographical, the concrete and particular instance, and the theoretical or abstract’. See Iain Biggs, ‘Essaying Place: Landscape, Music, and Memory (after Janet Wolff)’, in Process: Landscape and Text, ed. by Catherine Brace and Adeline Johns-Putra (Amsterdam: Rodopi, 2010), pp.149–171 (p.155), and Janet Wolff, Resident Alien: Feminist Cultural Criticism (Cambridge: Polity Press, 1995). 40. Denis Cosgrove, Social Formation and Symbolic Landscape (Beckenham: Croom Helm, 1984); Landscape and Power, ed. by W.J.T. Mitchell (Chicago: University of Chicago Press, 1994). 41. Carl Sauer, ‘The Morphology of Landscape’, in Land and Life: A Selec- tion from the Writings of Carl Ortwin Sauer, ed. by John Leighly (Berkeley: University of California Press, 1963), pp.315–350 (p.316) (first pub. in University of California Publications in Geography, 2 (1925), 19–54). 42. Sauer, ‘Morphology of Landscape’, p.326. 43. This etymological relationship is advanced by Kenneth Olwig, ‘Sex- ual Cosmology: Nation and Landscape at the Conceptual Interstices of Nature and Culture; or, What Does Landscape Really Mean?’, in Land- scape: Politics and Perspectives, ed. by Barbara Bender (Oxford: Berg, 1993), pp.307–343 (p.310). 44. Raymond Williams, The Country and the City (Oxford: Oxford University Press, 1973), p.120. 45. Christopher Tilley, ‘Metaphor, Materiality and Interpretation’, in The Material Culture Reader, ed. by Victor Buchli (Oxford: Berg, 2002), pp.23–26 (p.25). 46. Andreas Huyssen, ‘Authentic Ruins: Products of Modernity’, in Ruins of Modernity, ed. by Julia Hell and Andreas Schönle (Durham, NC: Duke University Press, 2010), pp.17–28 (p.25). 47. Bruno Reudenbach, Giovanni Battista Piranesi: Architektur als Bild (Munich: Prestel, 1979), p.44, trans. by and cited in Huyssen, ‘Authentic Ruins’, p.25. 48. Huyssen, ‘Authentic Ruins’, p.24. 49. Huyssen, ‘Authentic Ruins’, p.27. 50. The notion of historical affordance is being developed by Lina Hakim, in her doctoral work on scientific playthings. Lina Hakim, Personal Communication, 5 July 2012. 51. Bruno Latour, ‘Why Has Critique Run out of Steam? From Matters of Fact to Matters of Concern’, Critical Inquiry, 30 (2004), 225–248. 52. Indeed the volume Modernism on Sea: Art and Culture at the British Sea- side, ed. by Lara Feigel and Alexandra Harris (Oxford: Peter Lang, 2009) contributes to the latter proposition. Notes 147

1 Studland Beach

1. Paul Nash, ‘Swanage or Seaside Surrealism’, in Paul Nash: Writings on Art, ed. by Andrew Causey (Oxford: Oxford University Press, 2000), pp.125–129 (p.127) (first pub. in Architectural Review, 79 (April 1936), 151–154). 2. William Foot, Beaches, Fields, Streets and Hills: The Anti-Invasion Land- scapes of England, 1940 (York: Council for British Archaeology, 2006), pp.64–72. 3. Charles Harper, The Dorset Coast (London: Chapman and Hall, 1905), p.46, cited in Lisa Tickner, Modern Life and Modern Subjects: British Art in the Early Twentieth Century (New Haven: Yale University Press, 2000), p.129. 4. Bernard Becker, Holiday Haunts by Cliffside and Riverside (London: Remington, 1884), pp.5–6, cited in Rob Shields, Places on the Margin: Alternative Geographies of Modernity (London: Routledge, 1991), p.88. 5. See Lisa Tickner, Modern Life, pp.117–141. This chapter is indebted to her thorough account of the Bells’ relationship with Studland, and her reading of the painting Studland Beach. 6. C. Wright, The Brighton Ambulator (1818), cited in Alain Corbin, The Lure of the Sea: The Discovery of the Seaside in the Western World 1750– 1840, trans. by Jocelyn Phelps (Berkeley: University of California Press, 2004), p.78. 7. Corbin, Lure of the Sea, p.78. 8. Corbin, Lure of the Sea, p.254. 9. Turner published Picturesque Views in England and Wales in two vol- umes in 1832 and 1838. These featured ten coastal views, which as Elizabeth Helsinger has observed, obsessively repeated scenes of such seditious activities. See Elizabeth Helsinger, ‘Turner and the Representa- tion of England’, in Landscape and Power, ed. by W.J.T. Mitchell (Chicago: University of Chicago Press, 1994), pp.103–125 (p.116). 10. Philip Brannon, The Illustrated Historical and Picturesque Guide to Swanage and the Isle of Purbeck (London: Longman; Poole: R. Sydenham, 1858), p.39. 11. Brannon, Illustrated Historical and Picturesque Guide, p.41. 12. E.D. Burrowes, The Sixpenny Guide to Swanage (London: Marchant Singer, 1879), p.18. 13. Clive Holland, The Gossipy Guide to Swanage and District (London: C. Arthur Pearson, 1900), p.4. 14. Corbin, Lure of the Sea, p.80. 15. Nude and mixed bathing appear to have been acceptable aspects of the ‘folk tradition of sea-bathing’, as John Travis calls it, citing examples recorded in Lancashire, Sussex and South Devon from the mid-to-late eighteenth century (John Travis, ‘Continuity and Change in English Sea- Bathing, 1730–1900: A Case of Swimming with the Tide’, in Recreation and the Sea, ed. by Stephen Fisher (Exeter: University of Exeter Press, 1997), pp.8–35 (pp.9–11)); Fred Gray concludes that ‘the evidence is 148 Notes

fragmentary and argued over, but initially in the eighteenth century men and perhaps also women often took to the sea naked and also often bathed together’ (Fred Gray, Designing the Seaside (London: Reaktion Books, 2006), p.151.). 16. Travis, ‘Continuity and Change’, pp.14–16. 17. On non-enforcement of the bye-laws, see Travis, ‘Continuity and Change’, pp.21–23. On the rise of naturism, see Gray, Designing the Seaside, p.156 and pp.160–161. 18. Gray, Designing the Seaside, pp.148–150. 19. Gray, Designing the Seaside, pp.156–157. 20. Gray, Designing the Seaside, pp.157–158; Travis, ‘Continuity and Change’, p.25. 21. Gray, Designing the Seaside, p.159. 22. Travis, ‘Continuity and Change’, p.26. 23. C.W. Saleeby, Sunlight and Health (London, 1923), p.xi, cited in John K. Walton, The British Seaside: Holidays and Resorts in the Twentieth Century (Manchester: Manchester University Press, 2000), p.100. 24. See Gray, Designing the Seaside, p.168, and Fred Gray, ‘1930s Architecture and the Cult of the Sun’, in Modernism on Sea: Art and Culture at the British Seaside, ed. by Lara Feigel and Alexandra Harris (Oxford: Peter Lang, 2009), pp.159–176 (pp.163–164). 25. Roland Barthes, Camera Lucida, trans. by Richard Howard (London: Vintage, 1993), p.96. 26. David Fletcher, Swimming Shermans: Sherman DD Amphibious Tank of World War II (Oxford: Osprey Publishing, 2006), p.14. 27. Ernest Swinton, the Official Observer of the British Expeditionary Force in 1914, memorably called the tank ‘a species of gigantic cubist steel slug’ in his memoirs. Ernest D. Swinton, Eyewitness (London: Hodder and Stoughton, 1932), p.196, cited in Patrick Wright, Tank: The Progress of a Monstrous War Machine (London: Faber and Faber, 2000), p.29. 28. Fletcher, Swimming Shermans,p.6. 29. ‘The Testing of Specialised Armoured Fighting Vehicles Designed for Operation Overlord (Part 1)’, Army Film and Photographic Unit, 27 March 1944. London, Imperial War Museum, Catalogue Number A70–51. 30. H.G. Wells, ‘The Land Ironclads’, Strand Magazine, 26 (1903), 751–764, cited in Wright, Tank, p.25. 31. Paul Virilio, Bunker Archeology, trans. by George Collins (New York: Princeton Architectural Press, 1994), p.39. 32. Virilio, Bunker Archeology, p.39. 33. Virilio, Bunker Archeology, p.14. 34. Virilio, Bunker Archeology, p.42. 35. Foot, Beaches, Fields, Streets and Hills, pp.11, 122. 36. Foot, Beaches, Fields, Streets and Hills, pp.9, 97, 151. 37. Julian Trevelyan, Indigo Days (London: MacGibbon & Key, 1957), p.130. 38. Trevelyan, Indigo Days, p.122. Notes 149

39. Reproduced in Nicholas Rankin, Churchill’s Wizards: The British Genius for Deception, 1914–1945 (London: Faber and Faber, 2008), Illustration 14. 40. Trevelyan, Indigo Days, p.185. 41. 2/5th Bn Lancashire Fusiliers War Diary, cited in Foot, Beaches, Fields, Streets and Hills, p.184. 42. Rodney Legg, Dorset’s War Diary: Battle of Britain to D-Day (Wincanton, Somerset: Dorset Publishing Company, 2004), pp.40–41. 43. ‘Sand Trials of MT (Motor Transport) Vehicles’, September 1937. London, Imperial War Museum, Catalogue Number MTE 240. 44. Virilio, Bunker Archeology, pp.10–11. 45. Tickner, Modern Life, p.121; on The Beach, Studland as preparatory study, see p.118. 46. The Beach, Studland was painted on a separate visit, one year after Bell had taken the photographs of 1910, and the presence of a bathing tent here rather than bathing machines may indicate that Studland was mov- ing with the times and updating its beach architecture. It seems unlikely, however, that there was a sudden shift: William Masters Hardy records the numerous kinds of bathing apparatus available in nearby Swanage in 1910, writing that ‘we now see between 200 and 300 of all shapes and makes, from the old-fashioned wooden bathing machines to the latest hygienic tents’ (William Masters Hardy, Old Swanage, Or Purbeck Past and Present, rev. edn (Dorchester: Dorset County Chronicle Printing Works, 1910), p.18.). 47. Tickner, Modern Life, p.124. 48. Olive Cook and Edwin Smith, ‘Beside the Seaside’, in The Saturday Book 12, ed. by John Hadfield (London: Hutchinson, 1952), pp.22–44 (p.33). 49. Roger Fry, ‘An Essay in Aesthetics’, in Vision and Design,7thedn (London: Chatto & Windus, 1957), pp.16–38 (p.18). 50. Roger Fry, ‘The French Post-Impressionists’, in Vision and Design, pp.237–243 (p.239) (first pub. as ‘The French Group’ (1912)). 51. Fry’s influential Vision and Design was first published in 1920, collecting and revising a body of critical work that went back to 1901. 52. Fry, ‘The French Post-Impressionists’, p.242. 53. Roger Fry, ‘Art and Life’, in Vision and Design, pp.1–15 (p.10). 54. Virginia Woolf, ‘Mr. Bennett and Mrs. Brown’, in The Captain’s Death Bed and Other Essays (London: Hogarth Press, 1950), pp.90–111 (p.104). 55. Fry, ‘An Essay in Aesthetics’, pp.21, 27–29. 56. Fry, ‘Art and Life’, p.15. 57. Roger Fry, ‘Retrospect’, in Vision and Design, pp.284–302 (p.302). 58. Clive Bell, Art (London: Chatto & Windus, 1914), pp.108, 107. 59. Bell, Art, p.117. 60. Fry, ‘An Essay in Aesthetics’, pp.22–23. 61. Roger Fry, ‘The Salons and Van Dougen’ [sic], The Nation, 24 June 1911, pp.463–464, cited in Tickner, Modern Life, p.126. 62. Fry, ‘The French Post-Impressionists’, p.238. 150 Notes

63. Roger Fry, ‘The Grafton Gallery – I’, in Post-Impressionists in England,ed. by J.B. Bullen (London: Routledge, 1988), pp.120–124 (p.121) (first pub. in The Nation, 19 November 1910, p.331). 64. Virginia Woolf, To the Lighthouse (London: Penguin Classics, 2000), p.186. 65. Walton, The British Seaside, p.27. 66. Roger Fry, ‘Art and Socialism’, in Vision and Design, pp.55–78 (p.76). 67. Fry, ‘Art and Socialism’, pp.67–69. 68. Cook and Smith, ‘Beside the Seaside’, p.38. 69. Maggie Humm, Modernist Women and Visual Cultures: Virginia Woolf, Vanessa Bell, Photography and Cinema (New Brunswick: Rutgers Univer- sity Press, 2003), p.18. 70. Humm, Modernist Women and Visual Cultures, p.101. 71. Humm, Modernist Women and Visual Cultures, p.102. 72. Frances Spalding, Vanessa Bell (London: Macmillan, 1984), pp. 72–73, 97. 73. Woolf, To the Lighthouse, p.172. 74. See Tickner’s comments on the ‘social relations’ represented in Impressionist and Victorian beach paintings and the ‘network[s] of glances’ underlying them. Modern Life, pp.133, 140. 75. Vanessa Bell to Virginia Woolf, 3 October 1910, cited in Tickner, Modern Life, p.133. 76. Spalding, Vanessa Bell, p.88. 77. Vanessa Bell to Clive Bell, 9 October 1910, Selected Letters of Vanessa Bell, ed. by Regina Marler (London: Bloomsbury Publishing, 1993), p.95. 78. Selected Letters, ed. by Marler, p.96. 79. Vanessa Bell wrote to Clive, ‘I never saw such weather. We sat on the beach this morning with books which we didn’t open.’ Selected Letters, ed. by Marler, p.95. 80. In November 1911, Bell wrote to Fry that ‘Steer is quite done for’, and dismissed the work of his New English Art Club co-exhibitors Augustus John and Henry Lamb as ‘sentimental’ and ‘without life or interest’ respectively. Selected Letters, ed. by Marler, p.112. 81. Vanessa Bell, ‘Memories of Roger Fry’, in Sketches in Pen and Ink: A Bloomsbury Notebook, ed. by Lia Giachero (London: Hogarth Press, 1997), pp.117–147 (p.126). 82. The Russell painting was previously dated c.1943, the date of its acces- sion to the Royal Academy (Helena Bonett, ‘Corfe Castle Drawing’, Private email to Author, 19 December 2011.) However, as this chapter has shown, by 1940 the beach was already fortified, and so if this work was painted in situ, it must have been completed prior to this date. 83. Tickner, Modern Life, p.140. 84. Thomas Mann, Death in Venice, trans. by H.T. Lowe-Porter (London: Martin Secker, 1932), p.51. 85. Mann, DeathinVenice, p.117. 86. Tickner, Modern Life, p.138. 87. Julia Kristeva, ‘Giotto’s Joy’, in Desire in Language: A Semiotic Approach to Literature and Art, ed. by Leon S. Roudiez, trans. by Thomas Gora, Alice Jardine and Leon S. Roudiez, 3rd edn (Oxford: Blackwell, 1984), pp.210–236 (pp.225–226). Notes 151

88. Kristeva, ‘Giotto’s Joy’, p.230. 89. Tickner, Modern Life, p.124. 90. Peter Sloterdijk, ‘Atmospheric Politics’, trans. by Jeremy Gaines, in Mak- ing Things Public: Atmospheres of Democracy, ed. by Bruno Latour and Peter Weibel (Cambridge, MA: MIT Press, 2005), pp.944–951. 91. Sloterdijk, ‘Atmospheric Politics’, p.944. 92. Sloterdijk, ‘Atmospheric Politics’, pp.945–946. 93. Antonio Stoppani, cited in Paul J. Crutzen, ‘Geology of Mankind: The Anthropocene’, Nature, 415 (2002), 23. 94. Corbin, Lure of the Sea, p.165. 95. Corbin, Lure of the Sea, pp.163–164. 96. Virginia Woolf, ‘Solid Objects’, in A Haunted House and Other Short Stories (London: The Hogarth Press, 1944), pp.79–85 (p.79) (first pub. in The Athenaeum, 20 October 1920). 97. Woolf, ‘Solid Objects’, p.81. 98. Corbin, Lure of the Sea, pp.1–19. Seneca’s attitude is exemplary: ‘It is in the nature of the sea to cast back on its shore every secretion and every impurity [ ...] and this purging occurs not only when the storm is stirring the waves, but when the deepest calm prevails.’ Seneca cited in Corbin, Lure of the Sea, p.13. 99. David Bradshaw, ‘ “The Purest Ecstasy”: Virginia Woolf and the Sea’, in Modernism on Sea, ed. by Feigel and Harris, pp.101–115 (p.108). 100. Bradshaw, ‘ “The Purest Ecstasy”: Virginia Woolf and the Sea’, p.110. 101. Woolf, ‘Solid Objects’, pp.79, 80. 102. James Joyce, Ulysses, ed. by Hans Walter Gabler, Wolfhard Steppe and Claus Melchior (London: The Bodley Head, 1986), p.37 (Lines 288–289); T.S. Eliot, ‘The Waste Land’, in The Complete Poems and Plays of T.S. Eliot (London: Faber and Faber, 1969), pp.59–80 (p.70) (Lines 300–302). 103. Virginia Woolf, ‘Notes for Writing’, 14 March 1925, cited in Hermione Lee, ‘Introduction’ in Woolf, To the Lighthouse, pp.ix–xliii (p.xiii). 104. Woolf, To the Lighthouse, p.146. 105. Woolf, To the Lighthouse, pp.145–146. 106. Peter Sloterdijk, Terror from the Air, trans. by Amy Patton and Steve Corcoran (Los Angeles: Semiotext(e), 2009), p.47. 107. Sloterdijk, Terror from the Air, pp.9–46. 108. Sloterdijk, Terror from the Air, p.50. 109. Sloterdijk, Terror from the Air, p.48. 110. Sloterdijk, Terror from the Air, p.72. 111. Indeed, Paul Peppis’s analysis focuses precisely on Post-Impressionist painting and the Agadir Crisis as two significant arenas for pre-war clashes between ‘cosmopolitan’ and ‘patriotic’ commentators. Both were litmus tests of English attitudes towards European affairs and perceived cultural or military competition from abroad. See Paul Peppis, Litera- ture, Politics and the English Avant-Garde: Nation and Empire, 1901–1918 (Cambridge: Cambridge University Press, 2000), pp.53–75. 112. Selected Letters, ed. by Marler, pp.109–110, 115–116. 113. Spalding, Vanessa Bell, pp.99, 108. 114. Vanessa Bell to Virginia Woolf, 14 August 1912, cited in Spalding, Vanessa Bell, p.110. 152 Notes

115. Vanessa Bell to Roger Fry, 21(?) July 1912, in Selected Letters, ed. by Marler, p.121. 116. Selected Letters, ed. by Marler, p.121. 117. Selected Letters, ed. by Marler, p.121. 118. Selected Letters, ed. by Marler, p.121. 119. David Peters Corbett, The Modernity of English Art, 1914–1930 (Manchester: Manchester University Press, 2007), p.44. 120. John Cournos, ‘The Death of Futurism’, in The Egoist, 4 (1917), 6; cited in Corbett, The Modernity of English Art, p.45. 121. Vanessa Bell to Leonard Woolf, 22 January 1913, cited in Spalding, Vanessa Bell, p.126. 122. Nicholas Watt, ‘House of Commons Falls Silent as Tory MP Tells of How Five School Friends Died When Mine Exploded’, Guardian Online (19 March 2010) [accessed 24 April 2012]. 123. These details were taken from the Studland United Nudists website [accessed 30 September 2009]. The website is currently unavailable (2012). 124. Studland Beach Users Action Group, Information for Beach Users ([n.p.]:[n.pub], [2011(?)]). 125. Studland Beach Users Action Group, Information for Beach Users. 126. Studland United Nudists, ‘SUN’s Proposed Solutions’, Studland United Nudists [accessed 30 September 2009]. 127. Worktowners at Blackpool: Mass-Observation and Popular Leisure in the 1930s, ed. Gary Cross (London: Routledge, 1990), p.189.

2 The Hollow Land

1. Nathalie Blondel, Mary Butts: Scenes from the Life (New York: McPherson, 1998), p.113. 2. Mary Butts, The Crystal Cabinet: My Childhood at Salterns (Manchester: Carcanet, 1988), p.20. 3. Butts, Crystal Cabinet, pp.14–15. 4. Butts, Crystal Cabinet, p.16. 5. Mary Butts to Glenway Westcott, 1923, cited in Patrick Wright, The Vil- lage that Died for England, 2nd edn (London: Faber and Faber, 2002), p.439 n.10. 6. Butts cited in Wright, The Village that Died, p.439 n.10. 7. Blondel, Scenes from the Life, p.260. 8. Mary Butts, ‘Warning to Hikers’, in Ashe of Rings and Other Writings (New York: McPherson, 1998), pp.267–295 (pp.271–272). (first pub. London: Wishart & Co., 1932). 9. Wright, The Village that Died, p.99. 10. Mary Butts, ‘Bloomsbury’, Modernism/Modernity, 5 (1998), 32–45 (p.39). 11. Butts, ‘Bloomsbury’, p.42. 12. See for example Leon Surette, The Birth of Modernism: Ezra Pound, T.S. Eliot, W.B. Yeats, and the Occult (Montreal: McGill-Queen’s University Notes 153

Press, 1993); Alex Owen, The Place of Enchantment: British Occultism and the Culture of the Modern (Chicago: University of Chicago Press, 2004); and Robin Blaser, ‘Here Lies the Woodpecker Who Was Zeus’, in ASacred Quest: The Life and Writings of Mary Butts, ed. by Christopher Wagstaff (New York: McPherson, 1995), pp.159–223. 13. T.S. Eliot, ‘The Waste Land’ in The Complete Poems and Plays of T.S. Eliot (London: Faber and Faber, 1969), pp.59–80 (p.76). 14. Blondel, Scenes from the Life, p.186. 15. Surette, The Birth of Modernism, p.234. 16. Mary Butts, The Journals of Mary Butts, ed. by Nathalie Blondel (New Haven: Yale University Press, 2002), 1 October 1929, pp.324–325. 17. Mary Butts, Armed With Madness (London: Penguin, 2001), p.67 (first pub. as Armed With Madness (London: Wishart, 1928). 18. Butts, Armed With Madness,p.9. 19. Mary Butts, The Taverner Novels: Armed With Madness and Death of Felicity Taverner (New York: MacPherson, 1992), p.300 (first pub. as Death of Felicity Taverner (London: Wishart, 1932)). 20. Butts, Taverner Novels, p.283. 21. Butts, Taverner Novels, p.343. 22. Butts, Taverner Novels, p.200. 23. Butts, Armed With Madness, p.23. 24. Butts, Taverner Novels, p.303. 25. Butts, Crystal Cabinet, p.266. 26. Butts, Armed With Madness,p.8. 27. Phil Judkins, ‘Enquiry re. Brandy Bay radar station’, Private email to Author, 16 August 2012. 28. A.P. Rowe, One Story of Radar (Cambridge: Cambridge University Press, 1948), p.56. 29. Bernard Lovell, Echoes of War: The Story of H2S Radar (Bristol: Adam Hilger, 1991), pp.27–28; Colin Pomeroy, Dorset: The Royal Air Force (Stanbridge: The Dovecote Press, 2011), p.12. 30. Mary Butts, ‘Corfe’, in An ‘Objectivists’ Anthology, ed. by Louis Zukovsky (Le Beausset: To Publishers, 1932), pp.36–39 (pp.38–39). 31. Blondel, Scenes from the Life, p.136. 32. Butts, ‘Corfe’, p.38. 33. Butts, Crystal Cabinet, p.251. 34. Nathalie Blondel has been instrumental in bringing Butts’s work to wider attention by writing a useful biography and editing her journals for pub- lication. She nevertheless consistently underplays controversial aspects of Butts’s writing, trying for example to position Warning to Hikers (1932) in relation to ‘the present increased concern for ecology’, rather than in a context of the right to roam, which is surely a more pertinent, and less complimentary, contemporary analogy (Blondel, Scenes from the Life, p.301). She also defends Butts against accusations of anti-Semitism in her introduction to the journals (Butts, Journals, pp.18–20). Roslyn Foy’s laudatory monograph on Butts, Ritual, Myth, and Mysticism in the Work of Mary Butts: Between Feminism and Modernism (Fayetteville: University 154 Notes

of Arkansas Press, 2000), takes her profession of mystical insight at face value. 35. The zeal with which Jane Garrity, for example, conducts her prosecu- tion of Butts leads her to errors of interpretation; on the basis of one description which when read in context is surely metaphorical, she con- cludes that Clarence, one of the characters in Armed With Madness,is black, and then constructs a racist subtext for the novel on extremely circumstantial grounds. See Jane Garrity, ‘Mary Butts’s England: Racial Memory and the Daughter’s Mystical Assertion of Nationhood’, in Step-Daughters of England: British Women Modernists and the National Imaginary (Manchester: Manchester University Press, 2003), pp.188–241 (pp.211–213). 36. Whilst the novels under discussion were published before Neo- Romanticism had properly emerged according to most accounts (see, for example, David Mellor’s edited survey A Paradise Lost: The Neo-Romantic Imagination in Britain 1935–55 (London: Lund Humphreys, 1987)), Butts clearly shares so many thematic concerns with artists of the later 1930s and 1940s that to associate her with them is not mere anachronism. Such an expanded view of Neo-Romanticism, as ‘a way of seeing rather than an art-historical category’, has also been pursued by Kitty Hauser. See Kitty Hauser, Shadow Sites: Photography, Archaeology, and the British Landscape 1927–1955 (Oxford: Oxford University Press, 2007), p.13. 37. Ian Patterson, ‘ “The Plan Behind the Plan”: Russians, Jews and Mythologies of Change: The Case of Mary Butts’, in Modernity, Culture and ‘the Jew’, ed. by Bryan Cheyette and Laura Marcus (Cambridge: Polity Press, 1998), pp.126–140 (p.135). 38. Butts, Armed With Madness, p.138. 39. Butts, Armed With Madness, p.140. 40. Butts, Armed With Madness, pp.140–141. 41. Mary Butts, ‘Traps for Unbelievers’, in Ashe of Rings and Other Writings (New York: McPherson, 1998), pp.297–330 (p.323) (first pub. as Traps for Unbelievers (London: Desmond Harmsworth, 1932)). 42. Butts cited in Blondel, Scenes from the Life, p.22. 43. Butts cited in Blondel, Scenes from the Life, p.44. 44. Jane Harrison, Themis: A Study of the Social Origins of Greek Religion,4th edn (London: Merlin Press, 1989), p.68. 45. Gillian Beer, Open Fields: Science in Cultural Encounter (Oxford: Clarendon Press, 1996), p.298. 46. Steven Connor, The Matter of Air: Science and the Art of the Ethereal (London: Reaktion Books, 2010), p.148. 47. Joe Milutis, Ether: The Nothing That Connects Everything (Minneapolis: University of Minnesota Press, 2006), p.37. 48. Linda Dalrymple Henderson, ‘Editor’s Introduction: I. Writing Modern Art and Science – an Overview; II. Cubism, Futurism, and Ether Physics in the Early Twentieth Century’, Science in Context, 17 (2004), 423–466 (pp.451–452). 49. Connor, The Matter of Air, p.156. Notes 155

50. James Clerk Maxwell cited in Beer, Open Fields, p.306. 51. See John Durham Peters, Speaking Into the Air: A History of the Idea of Communication (Chicago: University of Chicago Press, 1999). 52. Jeffrey Sconce, Haunted Media: Electronic Presence from Telegraphy to Television (Durham, NC: Duke University Press, 2000), p.63. 53. Lucien Lévy-Bruhl, The ‘Soul’ of the Primitive, trans. by Lilian Clare (London: George Allen & Unwin, 1928), pp.16–17. 54. Lévy-Bruhl, The ‘Soul’ of the Primitive, p.17. 55. Brian Wynne ‘Natural Knowledge and Social Context: Cambridge Physi- cists and the Luminiferous Ether’ in Science in Context: Readings in the Sociology of Science, ed. by Barry Barnes and David Edge (Milton Keynes: Open University Press, 1982), pp.212–231 (p.217). 56. Wynne ‘Natural Knowledge’, p.219. 57. Balfour Stewart and P.G. Tait cited in Wynne, ‘Natural Knowledge’, p.224. 58. Wynne, ‘Natural Knowledge’, p.220. 59. Lovell,EchoesofWar, pp.11–12. 60. Lovell,EchoesofWar, p.13. 61. Lovell,EchoesofWar, p.25. 62. ‘Interview with Bernard Lovell’. London, Imperial War Museum, Cata- logue Number 9708, Reel 1. 63. Lovell, Echoes of War, p.39. 64. Lovell,EchoesofWar, p.41. 65. Douglas Hague and Rosemary Christie, Lighthouses: Their Architecture, History and Archeology (Llandysul: Gomer Press, 1975), p.94. 66. John Hutchins, The History and Antiquities of the County of Dorset,rev.by William Shipp and James Hodson, 3rd edn, 4 vols (London: John Bowyer Nichols and Sons, 1861), Vol.1, p.698. 67. Hague and Christie, Lighthouses, p.94. This appears to have been how the lighthouse at St. Catherine’s Oratory on the Isle of Wight operated (Hague and Christie, Lighthouses, p.17). 68. John Naish, Seamarks: Their History and Development (London: Stanford Maritime, 1985), pp.21, 40. 69. Judd Case, ‘Geometry of Empire: Radar as Logistical Medium’ (University of Iowa PhD Dissertation, 2010), p.119. 70. Case, ‘Geometry of Empire’, p.119. 71. Lovell, Echoes of War, pp.41–42. 72. ‘Interview with Reg Batt’. London, Imperial War Museum, Catalogue Number 27391, Reel 1. 73. Bernard Lovell, ‘The Cavity Magnetron in World War II: Was the Secrecy Justified?’, Notes and Records of the Royal Society of London, 58 (2004), 283–294 (p.286). 74. Lovell, ‘The Cavity Magnetron’, p.288. 75. A Matter of Life and Death, dir. by Michael Powell and Emeric Pressburger (Universal, 1946). 76. Butts, Taverner Novels, p.200. 77. Butts, Taverner Novels, p.344. 156 Notes

78. Butts, Taverner Novels, p.178. 79. Butts, Taverner Novels, pp.177–179. 80. Butts, Crystal Cabinet, p.91. 81. Butts, Taverner Novels, p.191. 82. Butts, Taverner Novels, pp.210–211. 83. Butts, Taverner Novels, p.212. 84. Butts, Taverner Novels, p.215. 85. Butts, Taverner Novels, p.220. 86. Butts, Taverner Novels, p.320. 87. Butts, Taverner Novels, p.354. 88. Butts, Taverner Novels, p.355. 89. Butts, Taverner Novels, p.357. 90. Butts, Taverner Novels, p.296. 91. Butts, Taverner Novels, p.187. 92. Case, ‘Geometry of Empire’, p.21. 93. Richard Scarth, Echoes from the Sky: A Story of Acoustic Defence (Kent: Hythe Civic Society, 1999). 94. F.T. Marinetti, ‘The Technical Manifesto of Futurist Literature’, in Let’s Murder the Moonshine: Selected Writings, ed. by R.W. Flint, trans. by R.W. Flint and Arthur A. Coppotelli (Los Angeles: Sun & Moon Press, 1991), pp.92–97 (pp.92, 96). 95. W.H. Penley, ‘The Early Days of Radar in the U.K.’, Purbeck Radar (1993) [accessed 9 May 2012]. 96. Raviv Ganchrow, ‘Perspectives on Sound-Space: The Story of Acoustic Defence’, Leonardo Music Journal, 19 (2009), 71–75 (p.74). 97. Butts, Taverner Novels, p.300. 98. Butts, Taverner Novels, p.302. 99. Peters, Speaking Into the Air, p.65. 100. Peters, Speaking Into the Air, pp.63–108. 101. Butts, Taverner Novels, p.200. 102. Mary Butts, Ashe of Rings and Other Writings (New York: McPherson, 1998), p.169 (first pub. as Ashe of Rings (Paris: Contact Editions, 1925)). 103. Butts, Journals, 28 July 1929, p.318. 104. Butts, Journals, 28 July 1929, p.318. 105. Butts, Armed With Madness, p.92. 106. J.W.N. Sullivan, ‘The Entente Cordiale’, The Athenaeum, 4693 (1920), p.482, cited in David Bradshaw, ‘The Best of Companions: J.W.N. Sullivan, Aldous Huxley, and the New Physics’, The Review of English Studies, 47 (1996), 188–206 (p.204). 107. Patrick Wright, ‘Coming Back to the Shores of Albion: The Secret England of Mary Butts (1890–1937)’, in On Living in an Old Country: The National Past in Contemporary Britain (London: Verso, 1985), pp.93–134 (p.106). 108. Butts, Taverner Novels, pp.258–259. 109. Butts, ‘Warning to Hikers’, p.277. Notes 157

110. Paul Nash, ‘ “Going Modern” and “Being British” ’, Week-end Review, 12 March 1932, pp.322–323. 111. Clough Williams-Ellis, England and the Octopus (London: Geoffrey Bles, 1928); Britain and the Beast, ed. by Clough Williams-Ellis (London: J.M. Dent, 1937). 112. O.G.S. Crawford, Antiquity, 3/9 (March 1929), 3, cited in Hauser, Shadow Sites, p.142. 113. This revival began in the 1980s in the context, as Kitty Hauser puts it, of a ‘crisis of confidence both in modernist art practice and in a modernist reading of art history’ (Hauser, Shadow Sites, p.10). Today it is reflected in works of popular scholarship such as Alexandra Harris’s Romantic Moderns: English Writers, Artists and the Imagination from Virginia Woolf to John Piper (London: Thames & Hudson, 2010), and in exhibitions such as ‘Paul Nash: The Elements’ at the Dulwich Picture Gallery (February– May 2010) or ‘Graham Sutherland: An Unfinished World’ at Modern Art Oxford (December 2011–March 2012), the latter curated by the Turner Prize nominee George Shaw. 114. Butts, Taverner Novels, p.166. 115. Butts, Taverner Novels, p.265. 116. Butts, Armed With Madness, p.140. 117. Butts, Taverner Novels, p.302. 118. Butts, Taverner Novels, p.300. 119. Butts, Taverner Novels, p.302. 120. Butts, Armed With Madness, pp.3–4. 121. Butts, Armed With Madness, p.37. 122. Emily Thompson implies that it was just this perceived combination of the industrial and ‘primitive’ that made jazz so modern. See Emily Thompson, The Soundscape of Modernity: Architectural Acoustics and the Culture of Listening in America, 1900–1933 (Cambridge, MA: MIT Press, 2004), pp.130–132. 123. Joel Rogers cited in Thompson, Soundscape of Modernity, p.131. 124. Butts, Armed With Madness, p.38. 125. Butts, Armed With Madness, p.95. 126. This is accompanied by a technological switch too: the gramophones to which Butts refers are for the reproduction of sound, whilst Carston’s comment evokes a sound-recording device such as Edison’s phonograph. 127. Virginia Woolf, Between The Acts (London: The Hogarth Press, 1941). On the politics of Woolf’s gramophone, see Michele Pridmore-Brown, ‘1939–40: Of Virginia Woolf, Gramophones, and Fascism’, PMLA, 113 (1998), 408–421. 128. Butts, ‘Warning to Hikers’, p.270. 129. Butts, ‘Warning to Hikers’, p.273. 130. Butts, ‘Warning to Hikers’, pp.277, 278. 131. Butts, ‘Warning to Hikers’, pp.279, 294. 132. Butts, ‘Warning to Hikers’, p.270. 133. Butts, ‘Corfe’, p.39. 158 Notes

134. H.J. Massingham, The Faith of a Fieldsman (London: Museum Press, 1951), p.31. 135. Rolf Gardiner, England Herself: Ventures in Rural Restoration (London: Faber and Faber, 1943), p.126. 136. Gardiner, England Herself, p.126. 137. C.E.M. Joad, A Charter for Ramblers (London: Hutchinson, 1934), p.26. 138. Joad, A Charter for Ramblers, p.171. 139. Butts, Armed With Madness, p.12. 140. Joad, A Charter for Ramblers, p.178. 141. H.J. Massingham, Remembrance: An Autobiography (London: B.T. Batsford, 1941), p.20. 142. Massingham, Remembrance, p.21; Butts, ‘Warning to Hikers’, p.277. 143. Massingham, Remembrance, p.21. 144. Massingham, Faith of a Fieldsman, p.267. 145. Butts, ‘Corfe’, p.39. 146. Butts, Taverner Novels, p.342. 147. Butts, Taverner Novels, p.343. 148. As David Matless notes, there were prominent women in the organic movement, but none of them were members of Gardiner and Massingham’s ‘Kinship in Husbandry’. See David Matless, Landscape and Englishness (London: Reaktion Books, 1998), p.305 n.12. 149. Butts, Taverner Novels, p.342. 150. Wright, The Village that Died, p.60. 151. Wright, The Village that Died, pp.64–65. 152. Butts, Taverner Novels, p.166. 153. Robert Watson-Watt, Three Steps to Victory (London: Odhams Press, 1957), p.153. 154. Sam Smiles, ‘Equivalents for the Megaliths: Prehistory and English Cul- ture, 1920–50’, in The Geographies of Englishness: Landscape and the National Past 1880–1940, ed. by David Peters Corbett, Ysanne Holt and Fiona Russell (New Haven: Yale University Press, 2002), pp.199–223 (p.209). 155. Smiles, ‘Equivalents for the Megaliths’, p.209. 156. Alexander Keiller to O.G.S. Crawford, 15 September 1923, cited in Smiles, ‘Equivalents for the Megaliths’, p.209. 157. H.J. Massingham, Downland Man (London: Jonathan Cape, 1927), pp.328–329. 158. Massingham, Downland Man, p.128. 159. Massingham, Downland Man, pp.397–398. 160. Massingham, Remembrance, p.33. 161. Butts, Crystal Cabinet, p.265. 162. Clough Williams-Ellis, ‘Editor’s Introduction’, in Britain and the Beast,ed. by Clough Williams-Ellis (London: J.M. Dent and Sons, 1937), pp.xiv– xviii (p.xv). 163. Butts, Armed With Madness, pp.89–90. 164. Butts, Journals, 28 January 1930, p.340. 165. Owen, The Place of Enchantment,p.8. Notes 159

166. Butts, Journals, 23 December 1931, p.375. 167. As in Ashe of Rings, where the act of sticking knives in the turf will make a character ‘seized of this country’. Butts, Ashe of Rings, p.145. 168. Butts, Journals, 28 February 1920, p.142. 169. Butts, Journals, 28 February 1920, p.142. 170. Butts, Journals, 21 April 1920, p.149. 171. Michel Serres, Genesis, trans. by Geneviève James and James Nielson (Ann Arbor: University of Michigan Press, 1995), pp.57–58. 172. Michel Serres and Bruno Latour, Conversations on Science, Culture, and Time, trans. by Roxanne Lapidus (Ann Arbor: University of Michigan Press, 1995), p.121. 173. Butts, Taverner Novels, p.214. 174. Zygmunt Bauman, ‘Allosemitism: Premodern, Modern, Postmodern’ in Modernity, Culture and ‘the Jew’, ed. by Bryan Cheyette and Laura Marcus (Cambridge: Polity Press, 1998), pp.143–156. 175. Lewis Mumford, ‘Authoritarian and Democratic Technics’, Technology and Culture, 5 (1964), 1–8 (p.6). 176. Mumford, ‘Authoritarian and Democratic Technics’, p.7. 177. Butts, Taverner Novels, p.300. 178. Butts, Journals, 14 June 1931, p.360. 179. Hauser, Shadow Sites, p.133. 180. Mary Butts, ‘The art of Montague James’, The London Mercury, 29/172 (February 1934), 306–317 (p.307), cited in David Matless, ‘A Geography of Ghosts: The Spectral Landscapes of Mary Butts’, Cultural Geographies, 15 (2008), 335–357 (p.341). 181. Butts, Taverner Novels, p.354.

3 Seaside Surrealism

1. Nathalie Blondel, Mary Butts: Scenes from the Life (New York: McPherson, 1998), p.96. 2. Butts cited in Blondel, Mary Butts, p.96. 3. Paul Nash, ‘Swanage or Seaside Surrealism’, in Paul Nash: Writings on Art, ed. by Andrew Causey (Oxford: Oxford University Press, 2000), pp.125–129 (p.126) (first pub. in Architectural Review, 79 (April 1936), 151–154). 4. Nash, ‘Swanage or Seaside Surrealism’, p.126. 5. Mowlem and his nephew Burt were successful building contractors with contracts for road improvement and demolition in London, who brought architectural salvage back to their home town as ballast in their stone boats. Their activities ensured that Swanage Town Hall was graced with the façade that formerly adorned the Mercers’ Hall, the seafront by a clock tower that originally sat at the southern approach to London Bridge, and the entire town by lamp-posts and bollards taken from the streets of the capital. The story is recounted extensively elsewhere: see for example David Lambert, ‘Durlston Park and House: The Public and 160 Notes

Private Realms of George Burt, King of Swanage’, New Arcadian Journal, 45–46 (1998), 15–52; William Masters Hardy, Old Swanage, Or Purbeck Past and Present, rev. edn (Dorchester: Dorset County Chronicle Printing Works, 1910), pp.120–128. 6. Nash, ‘Swanage or Seaside Surrealism’, p.129. 7. Nash, ‘Swanage or Seaside Surrealism’, p.127. 8. John Donat cited in Robert Elwall, Evocations of Place: The Photography of Edwin Smith (New York: Merrell; London: RIBA Trust, 2007), p.55. 9. André Breton, ‘Speech to the Congress of Writers (1935)’, in Manifestoes of Surrealism, trans. by Richard Seaver and Helen R. Lane, 2nd edn (Ann Arbor: University of Michigan Press, 1974), pp.234–241 (p.241). 10. Nash, ‘Swanage or Seaside Surrealism’, p.127. 11. Paul Nash to Ruth Clark, c. November 1935, cited in Anthony Bertram, Paul Nash: The Portrait of an Artist (London: Faber and Faber, 1955), p.223. 12. Mary Butts, ‘From Altar to Chimney-Piece’, in With and Without Buttons and Other Stories, ed. by Nathalie Blondel (Manchester: Carcanet, 1991), pp.158–184 (p.177) (first pub. in Last Stories (London: Brendin, 1938), pp.136–175). 13. Butts, ‘From Altar to Chimney-Piece’, p.170. 14. Paul Nash, ‘Contemporary American Painting’, in Writings on Art,ed. by Causey, pp.61–63 (p.62) (first pub. in The Listener, 4 November 1931, pp.768–769). 15. The painting features the black shale cliffs of Kimmeridge. The ‘Surrealist Map of the World’, unattributed but possibly by Paul Eluard, was pub- lished in 1929. See Denis Wood, Rethinking the Power of Maps (New York: The Guilford Press, 2010), p.198. 16. Paul Nash, ‘Surrealism and the Illustrated Book’, in Writings on Art,ed. by Causey, pp.131–134 (p.131) (first pub. in Signature, 5 (March 1937), 1–11). 17. Andrew Causey, ‘Introduction’, in Writings on Art, ed. by Causey, pp.1–33 (p.28). 18. Hugh Sykes Davies, ‘Surrealism at this Time and Place’, in Surrealism,ed. by Herbert Read, 2nd edn (London: Faber and Faber, 1937), pp.119–168 (p.167). 19. Michel Remy, Surrealism in Britain (Aldershot: Ashgate Publishing, 1999), p.97. 20. Anthony Blunt, ‘Superrealism in London’, The Spectator, 19 June 1936, pp.1126–1127 (p.1126). 21. Nash, ‘Swanage or Seaside Surrealism’, p.126. 22. Reproduced as Plate 19 in Paul Nash’s Photographs: Document and Image, ed. by Andrew Causey (London: The Tate Gallery, 1973). 23. Bertram, Paul Nash, p.235. 24. Remy, Surrealism in Britain, p.129. 25. Roger Cardinal, The Landscape Vision of Paul Nash (London: Reaktion Books, 1989) p.48. 26. Cardinal, Landscape Vision, p.58. Notes 161

27. Paul Nash cited in Bertram, Paul Nash, p.231. 28. Nash, ‘Swanage or Seaside Surrealism’, p.127. 29. Paul Nash to Ruth Clark, c. November 1935, cited in Bertram, Paul Nash, p.223. 30. Andrew Causey, Paul Nash (Oxford: Oxford University Press, 1980), p.269. 31. Lambert, ‘Durlston Park and House’, p.16. 32. Nash, ‘Swanage or Seaside Surrealism’, p.127. 33. Lambert, ‘Durlston Park and House’, p.20. 34. Philip Brannon, The Illustrated Historical and Picturesque Guide to Swanage and the Isle of Purbeck (London: Longman; Poole: R. Sydenham, 1858), p.2. 35. Lambert, ‘Durlston Park and House’, pp.20–23. 36. Clive Holland, The Gossipy Guide to Swanage and District (London: C. Arthur Pearson, 1900), p.4. 37. Holland, The Gossipy Guide, p.12. 38. For analyses of the popularity of black-face acts in the Victorian and Edwardian period, and the discourse of race and racism surround- ing them, see J.S. Bratton, ‘English Ethiopians: British Audiences and Black-Face Acts, 1835–1865’, The Yearbook of English Studies, 11 (1981), 127–142, and Michael Pickering, ‘John Bull in Blackface’, Popular Music, 16 (1997), 181–201. 39. Holland, The Gossipy Guide,p.4. 40. Holland, The Gossipy Guide,p.4. 41. Brannon, Illustrated Historical and Picturesque Guide, p.54. 42. Brannon, Illustrated Historical and Picturesque Guide, p.54. 43. Brannon, Illustrated Historical and Picturesque Guide, p.54. 44. Lambert, ‘Durlston Park and House’, p.20. 45. Jo Thomas, Stone Quarrying (Stanbridge, The Dovecote Press, 1998), p.64; Peter Stanier, Stone Quarry Landscapes: The Industrial Archaeology of Quarrying (Stroud: Tempus Publishing, 2000), p.85. 46. Brannon, Illustrated Historical and Picturesque Guide, p.55. 47. Brannon, Illustrated Historical and Picturesque Guide, pp.55–56. 48. Brannon, Illustrated Historical and Picturesque Guide, p.55. 49. Lambert, ‘Durlston Park and House’, p.33. 50. E.D. Burrowes, The Sixpenny Guide to Swanage (London: Marchant Singer, 1879), p.14. 51. According to a notice visible in the castle during an open day in 2009. 52. Hamish Murray, ‘Durlston Project Update: Autumn 2009’, Welcome to Durlston (2009) [accessed 23 May 2012]. 53. Nash, ‘Swanage or Seaside Surrealism’, p.128. 54. Anon., Durlston Castle, Swanage, Dorset: The Great Globe, Tilly Whim Caves, Model Railway ([n.p.]: [n.pub], [n.d.]). 55. Barbara Jones, Follies and Grottoes, 2nd edn (London: Constable, 1974), p.1. 56. Olive Cook and Edwin Smith, ‘Follies’, in The Saturday Book 19 (London: Hutchinson, 1959), pp.65–75 (p.67). 162 Notes

57. Stuart Barton, Monumental Follies (Worthing: Lyle Publications, 1972), p.68. 58. Nash cited in Causey, Paul Nash, p.438. 59. Paul Nash, ‘Unseen Landscapes’, in Writings on Art, ed. by Causey, pp.144–146 (p.145) (first pub. in Country Life, 21 May 1938, pp.526–527). 60. Jones, Follies and Grottoes, p.35. 61. Posthumously published as Plate 14, ‘Old Quarry Hut, Swanage’ in Paul Nash: Fertile Image, ed. by Margaret Nash, 2nd edn (London: Faber and Faber, 1975). 62. Walter Benjamin, ‘Surrealism: The Last Snapshot of the European Intelligentsia’, in Selected Writings: Volume 2, 1927–1934, trans. Rodney Livingstone and others, ed. Michael W. Jennings, Howard Eiland, and Gary Smith (Cambridge, MA: The Belknap Press, 1999), pp.207–221 (p.210). 63. Benjamin, ‘Surrealism’, p.210. 64. E.M. Forster, Howards End (London: Edward Arnold, 1910), p.185. 65. Ian Walker, So Exotic, So Homemade: Surrealism, Englishness, and Documentary Photography (Manchester: Manchester University Press, 2007), p.37. 66. Walter Benjamin, The Arcades Project, trans. by Howard Eiland and Kevin McLaughlin (Cambridge, MA: The Belknap Press, 1992), p.458 (N1, 9). 67. André Breton, ‘Manifesto of Surrealism (1924)’, in Manifestoes of Surreal- ism, pp.1–47 (p.14). 68. Nash cited in Causey, Paul Nash, p.263. 69. Benjamin, ‘Surrealism’, p.216. 70. Alexander Nagel and Christopher S. Wood, Anachronic Renaissance (New York: Zone Books, 2010), p.302. 71. Nagel and Wood, Anachronic Renaissance, p.302. 72. Nagel and Wood, Anachronic Renaissance, p.303. 73. Nagel and Wood, Anachronic Renaissance, p.303. 74. Nagel and Wood, Anachronic Renaissance, pp.307–308. 75. Nagel and Wood, Anachronic Renaissance, p.13. 76. Nash, ‘Swanage or Seaside Surrealism’, p.126. 77. Nash, ‘Swanage or Seaside Surrealism’, pp.127, 129. 78. In between Nash’s first visit to the site in 1933, when he photographed several of the stones, and his return in 1938, Keiller’s workers had inter- vened, a change that Nash commented on sadly in his 1939 essay ‘Landscape of the Megaliths’. See Ian Walker, So Exotic, pp.17–22. 79. Sigmund Freud, ‘The Interpretation of Dreams’, in The Standard Edition of the Complete Psychological Works of Sigmund Freud, trans. James Strachey, 24 vols (London: The Hogarth Press, 1957), Vol. 4–5, pp.1–626 (pp.312, 318). 80. Brannon, Illustrated Historical and Picturesque Guide,p.5. 81. Nicolaas Rupke, Richard Owen: Biology Without Darwin,rev.edn(Chicago: University of Chicago Press, 2009), pp.161–165. 82. Paul Ensom, ‘The Purbeck Limestone Group of Dorset, Southern England’, Geology Today, 23 (2007), 178–185 (p.182). Notes 163

83. Charles Kingsley, ‘Geological Discoveries at Swanage’, Illustrated London News, 26 December 1857, pp.637–638 (p.638). 84. Kingsley, ‘Geological Discoveries’, p.638. 85. Paul Nash, ‘Monster Field’, in Writings on Art, ed. by Causey, pp.150–152 (p.151) (first pub. as Monster Field (Oxford: Counterpoint Publications, 1946)). William Buckland lectured in 1832 on the Megatherium or Giant Ground Sloth, explaining, as he later wrote, that this ‘egregious apparent monstrosity’ was in fact functionally adapted to its habitat, and thus an example of design. Buckland cited in Nicolaas Rupke, The Great Chain of History: William Buckland and the English School of Geology 1814–1849 (Oxford: Oxford University Press, 1983), p.242. 86. Myfanwy Evans, ‘Paul Nash, 1937’, Axis, 8 (1937), 12–13 (p.12). 87. Evans, ‘Paul Nash, 1937’, p.12. 88. Walter Benjamin, ‘Theses on the Philosophy of History’, in Illuminations, ed. by Hannah Arendt, trans. by Harry Zohn (London: Jonathan Cape, 1970), pp.255–266 (pp.259–260). 89. C.M. Barton and others, Geology of South Dorset and South-East Devon and its World Heritage Coast (Keyworth: British Geological Survey, 2011), pp.79–80; Ian West, ‘Durlston Bay, Swanage, Dorset – Middle Purbeck Formation’, Geology of the Wessex Coast of Southern England [accessed 13 August 2012]. 90. Paul Nash, Dorset Shell Guide (London: Architectural Press, 1936), p.16. 91. Adrian Stokes, The Stones of Rimini (1934), repr. The Quattro Cento and The Stones of Rimini (Philadelphia: Pennsylvania State University Press, 2002), pp.52–53. 92. Stokes, Stones of Rimini, p.52. 93. Stokes, Stones of Rimini, p.43. 94. Stokes, Stones of Rimini, p.32. 95. Stokes, Stones of Rimini, p.94. 96. Lyndsey Stonebridge, The Destructive Element: British Psychoanalysis and Modernism (London: Macmillan, 1998), p.100. 97. Stonebridge, The Destructive Element, pp.112–113. 98. Stokes, Stones of Rimini, p.64. 99. Stokes, Stones of Rimini, p.72. 100. Stokes, Stones of Rimini, p.71. 101. Stonebridge, The Destructive Element,p.8. 102. Stokes, Stones of Rimini, p.41. 103. Stokes, Stones of Rimini, p.42. 104. Stokes, Stones of Rimini, p.110. 105. Adrian Stokes, The Quattro Cento (1932), repr. The Quattro Cento and The Stones of Rimini (Philadelphia: Pennsylvania State University Press, 2002), p.60. 106. Stokes, The Quattro Cento,p.7. 107. Hardy, Old Swanage, p.201. 108. Paul Nash to Eileen Agar, 18 July 1935, London, Tate Archive, TGA 8712–2. 164 Notes

109. Eileen Agar, A Look At My Life (London: Methuen, 1988), p.112. 110. Agar, A Look At My Life, pp.112–113. 111. Agar, A Look At My Life, p.112. 112. Agar, A Look At My Life,Plate7a. 113. Ithell Colquhoun, The Living Stones: Cornwall (London: Peter Owen, 1957), p.46. 114. Stokes, Stones of Rimini, p.81. 115. Ezra Pound to Henry Allen Moe, 31 March 1925, cited in Lawrence Rainey, Ezra Pound and the Monument of Culture: Text, History, and the Malatesta Cantos (Chicago: University of Chicago Press, 1991), p.70. 116. Stokes, Stones of Rimini, p.26. 117. Ithell Colquhoun, ‘Everything Found on Land is Found in the Sea’, in Angels of Anarchy and Machines for Making Clouds: Surrealism in Britain in the Thirties, ed. by Alexander Robertson, Michel Remy, Mel Gooding and Terry Friedman (Leeds: Leeds City Art Galleries, 1986), pp.82–83 (first pub. in New Road 1943: New Directions in European Art and Letters, ed. by Alex Comfort and John Bayliss (Billericay: The Grey Walls Press, 1943), pp.196–198). 118. Julian Trevelyan, ‘John Tunnard’, London Bulletin, 12 (15 March 1939), 9–10, cited in Remy, Surrealism in Britain, p.258. 119. Humphrey Jennings, ‘Surrealism’, in Contemporary Poetry and Prose: May 1936 – Autumn 1937, ed. by Roger Roughton (London: Frank Cass, 1968), pp.167–168 (p.168). 120. Anon., The Residential Attractions of Swanage and District (Gloucester: British Publishing Co., 1936), p.9. 121. Anon., TheABCGuidetoSwanage, 7th edn (Swanage: O.R. Bean, 1930), p.14; Anon., Residential Attractions, p.22. 122. Donald Maxwell, Unknown Dorset (London: John Lane The Bodley Head, 1927), p.34. 123. This painting is Pier (1935). 124. Anon., Playland Advertisement, Swanage Times and Directory,13Septem- ber 1935, p.8. 125. London, Tate Archive, Eileen Agar Photograph Collection. 126. ‘The Architectural Review Competition: Holiday Surrealism’, Architec- tural Review, 80 (July 1936), 42, cited in Walker, So Exotic, So Home- made, p.52. 127. Gary Cross, ‘Introduction: Mass-Observation and Worktowners at Play’, in Worktowners at Blackpool: Mass-Observation and Popular Leisure in the 1930s, ed. by Gary Cross (London: Routledge, 1990), pp.1–15 (p.9). 128. John K. Walton, ‘Mass-Observation’s Blackpool and Some Alternatives’, in Worktowners at Blackpool, pp.221–229 (p.221). 129. Cross, ‘Introduction’, p.8. 130. One ‘married worker’ told a Mass-Observer, ‘when the holiday is fin- ished, I generally find that I have almost spent up [ ...] It generally takes a few weeks to get on a financial level’. Worktowners at Blackpool, p.57. 131. Worktowners at Blackpool, p.102. 132. Worktowners at Blackpool, pp.102, 105. Notes 165

133. Worktowners at Blackpool, p.109. 134. See Ben Highmore, Everyday Life and Cultural Theory: An Introduction (London: Routledge, 2002), p.84. 135. Julian Trevelyan, Indigo Days (London: MacGibbon & Key, 1957), p.100. 136. Trevelyan, Indigo Days, pp.99–100. 137. J.B. Priestley, English Journey (London: William Heinemann, 1934), p.402. 138. Priestley, English Journey, p.402. 139. Priestley, English Journey, p.405. 140. Anon., ‘Swanage Sea Front’, Swanage Times and Directory, 23 August 1935, p.8. 141. Priestley, English Journey, p.267. 142. Walter Greenwood, Love on the Dole (Harmondsworth: Penguin Books, 1969), p.120 (first pub. London: Jonathan Cape, 1934). 143. Nash, Dorset Shell Guide, p.44. 144. Nash, Dorset Shell Guide, p.44. 145. Anon., Residential Attractions,p.9. 146. Nash, Dorset Shell Guide,p.6. 147. Eric Benfield, Southern English (London: Eyre and Spottiswoode, 1942), p.112. 148. Walker, So Exotic, p.42. 149. As the filmmaker Patrick Keiller imagines his fictional Surrealist Robinson hopes to find in Blackpool in Robinson in Space (1997); see Patrick Keiller, Robinson in Space (London: Reaktion Books, 1999), p.230.

4 Purbeck Underground

1. Ilay Cooper, Purbeck Revealed, 2nd edn (Bath: James Pembroke, 2005), p.47. 2. The Portland and Purbeck quarries have their own separate histories, conditions and characters, but the industrial landscapes they produced were exploited in analogous ways by these directors. 3. Savage Messiah, dir. by Ken Russell (MGM-EMI, 1972). 4. Derek Jarman, Dancing Ledge, ed. by Shaun Allen (London: Quartet Books, 1991), p.111. 5. Jubilee, dir. by Derek Jarman (Cinegate, 1978). 6. Derek Jarman, Kicking the Pricks (London: Vintage, 1996), p.138. 7. The Damned, dir. by Joseph Losey (Columbia Pictures Corporation, 1963). 8. See Paul Hyland, Purbeck: The Ingrained Isle, 2nd edn (Stanbridge: The Dovecote Press, 1989), pp.52–59. 9. An expanded discussion of Eric Benfield and his work can be found in my ‘Purbeck Fractures: Landscapes of Modernity in Southern England’ (University of London PhD Thesis, 2013). 10. Neil Pearson, Obelisk: A History of Jack Kahane and the Obelisk Press (Liverpool: Liverpool University Press, 2007), p.4. 166 Notes

11. The Old Basing address is first used by Benfield in a letter to F.H. Kendon dated 25 January 1940. Cambridge University Archives, Archives of Cambridge University Press (hereafter CUP Archives), Pr. A. B.411, Sheet 11i. A Falmouth address appears in the correspondence in October 1938 (Pr. A. B.411, Sheet 1); South Hampstead is given as his location in December of that year (Pr. A. B.411, Sheet 3), whilst the time in Essex is referred to in Eric Benfield, Southern English (London: Eyre and Spottiswoode, 1942), p.163. 12. Rodney Legg, Literary Dorset (Wincanton: Dorset Publishing Company, 1990), p.191. 13. Benfield, Southern English, p.151. 14. Benfield, Southern English, p.153. 15. Neil Pearson speculates that the manuscript dealt with Benfield’s prac- tice of ‘protesting in stone’ and the anti-bombing sculpture he made for Sylvia Pankhurst in 1935, but he seems to be unaware of the fact that Benfield’s work with psychiatric patients was also a source for his writing, not including Poison in the Shade in his bibliography. Further- more, in a Nursing Mirror article of 1953 Benfield referred to the impulse to ‘set up a stone’ as one shared by people in all ages, and one he hoped to turn to therapeutic ends in his work with patients. See Pearson, Obelisk, p.337, and Eric Benfield, ‘Sculpture as Therapy’, Nursing Mirror, 23 October 1953, pp.x–xii. My thanks to Patrick Wright for bringing the latter article to my attention. 16. The doctor’s opinion is quoted in the Swanage Times’s report into his death. ‘Verdict at the Inquest’, Swanage Times, 14 December 1955, n.p. Swanage Museum Local Studies Centre, Clippings File. 17. ‘Eric Benfield – Man of Purbeck’, Swanage Times, 14 December 1955, n.p. Swanage Museum Local Studies Centre, Clippings File. 18. Pearson, Obelisk, p.327. 19. Charles Marriott, ‘A Stoneworker on Purbeck’, The Times Literary Sup- plement, 28 September 1940, p.496; ‘Man and Stone’, The Times Literary Supplement, 28 September 1940, p.495. 20. E. Estyn Evans, Geographical Review, 39 (1949), 690–693 (p.691). 21. CUP Archives hold a page of pasted clippings (Pr. B.30) showing that Purbeck Shop was mentioned in the Manchester Guardian, New Statesman, Listener, Observer and Spectator, amongst others, but reviews of other works are scarce. The Times Literary Supplement published short (and generally unfavourable) notices on Bachelor’s Knap (Anon., ‘Other New Books’, The Times Literary Supplement, 16 November 1935, p.747), Saul’s Sons (Georgina Battiscombe, ‘The New Novels’, The Times Literary Supplement, 19 February 1938, p.124) and Poison in the Shade (Alan Ross, ‘Breaking the Routine’, The Times Literary Supple- ment, 27 March 1953, p.201). Southern English, however, was given a longer and very favourable review in the TLS in 1942 (John Raynor, ‘In Praise of Purbeck’, The Times Literary Supplement, 19 December 1942, p.620.). 22. Kendon wrote to H.E. Bates that he ‘spent altogether four months’ work on “Purbeck Shop” with a pencil’. F.H. Kendon to H.E. Bates, 18 August 1941. CUP Archives, Pr. C. B.109, Sheet 10. Notes 167

23. F.H. Kendon to H.E. Bates, 17 July 1941. CUP Archives, Pr. C. B.109, Sheet 8. 24. F.H. Kendon to H.E. Bates, 18 August 1941. CUP Archives, Pr. C. B.109, Sheet 10. 25. H.E. Bates, ‘Report on Southern English M.S.’ CUP Archives, Pr. A. B.411, Sheet 19iii. 26. Eric Benfield, Dorset (London: Robert Hale, 1950), pp.16–17. 27. Pearson relates Brian Bugler’s story that Kathleen Wade ‘promised to return all of Benfield’s papers and unpublished manuscripts to the fam- ily. But Wade died of a stroke six weeks after Benfield’s funeral and the papers were lost’. Pearson, Obelisk, p.327. 28. E. Benfield to F.H. Kendon, 27 January 1939. CUP Archives, Pr. A. B.411, Sheet 5. 29. Eric Benfield, Purbeck Shop: A Stoneworker’s Story of Stone,2ndedn (Cambridge: Cambridge University Press, 1948), p.xi. 30. Benfield, Purbeck Shop, pp.xiii–xiv. 31. Benfield, Purbeck Shop, p.73. 32. Eric Benfield, Saul’s Sons (London: Chatto & Windus, 1938), pp.145–146. 33. Benfield, Purbeck Shop, p.127. 34. Such an image was cultivated at least in part by Benfield himself, who wrote that the traditional curse of the stone-worker was to be ‘restless upon the earth’ (Benfield, Purbeck Shop, p.75); even whilst acknowledg- ing the barriers of class and education that Benfield struggled against, it would be wrong to assume his voice and persona was not self-aware or incapable of self-fashioning. 35. Eric Benfield, Bachelor’s Knap (London: Peter Davies, 1935), pp.10–11. 36. Benfield, Bachelor’s Knap, pp.43, 170. 37. Benfield, Bachelor’s Knap, pp.92–93. 38. Benfield, Bachelor’s Knap, pp.240–241. 39. Benfield, Bachelor’s Knap, p.12. 40. Benfield, Bachelor’s Knap, p.34. 41. Benfield, Bachelor’s Knap, p.284. 42. Benfield, Bachelor’s Knap, p.284. 43. Benfield, Bachelor’s Knap, p.36. 44. Benfield, Bachelor’s Knap, p.113. 45. Benfield, Bachelor’s Knap, p.230. 46. Benfield, Bachelor’s Knap, p.232. 47. Benfield, Bachelor’s Knap, pp.236–237. 48. Benfield, Bachelor’s Knap, p.236. 49. Benfield, Bachelor’s Knap, p.248. 50. Mary Butts, The Taverner Novels: Armed With Madness and Death of Felicity Taverner (New York: MacPherson, 1992), p.201 (first pub. as Death of Felicity Taverner (London: Wishart, 1932). 51. Benfield, Bachelor’s Knap, p.163. 52. Benfield, Bachelor’s Knap, p.164. 53. Benfield, Bachelor’s Knap, p.165. 54. Benfield alludes to this both in his county book Dorset, where he men- tions that a reviewer classed him in the ‘dotty Dorset school’ (which 168 Notes

he later links to the Powys brothers), and in the foreword to Southern English, where he writes that in Dorset ‘we are not averse to a little magic in our lives’. See Benfield, Dorset, pp.96–97 and pp.106–107, and Southern English,p.v. 55. Benfield, Southern English, p.15. 56. Benfield, Southern English,p.9. 57. Benfield, Southern English, p.15. 58. Benfield, Southern English,p.9. 59. Benfield, Southern English, p.11. 60. Benfield, Southern English, p.13. 61. Benfield, Southern English, p.13. 62. Benfield, Southern English, p.14, p.15. 63. Thomas Hardy, The Return of the Native, ed. by Phillip Mallett (New York: Norton, 2006), p.12. For a fuller exploration of the implications of Hardy’s archaeological and antiquarian interests, see Andrew Radford, Mapping the Wessex Novel: Landscape, History and the Parochial in British Literature, 1870–1940 (London: Continuum, 2010), pp.18–51. 64. Benfield, Saul’s Sons,p.4. 65. Benfield, Saul’s Sons, p.76. 66. Benfield, Saul’s Sons, p.41. 67. Benfield, Saul’s Sons, p.202. 68. Benfield, Saul’s Sons, p.204. 69. Benfield, Saul’s Sons, p.108. 70. Benfield, Bachelor’s Knap, pp.276, 278. 71. Benfield, Saul’s Sons, pp.242–243. 72. Thomas Hardy, The Well-Beloved, ed. by Tom Hetherington (Oxford: Oxford University Press, 1986), p.36. 73. Benfield, Saul’s Sons, p.252. 74. Llewellyn Powys, ‘St. Aldhelm’s Head’, in Dorset Essays (Bristol: Redcliffe Press, 1983), pp.66–70 (p.68). 75. Charles Marriott, ‘Man and Stone’, The Times Literary Supplement, 28 September 1940, p.495. 76. Marriott, ‘Man and Stone’, p.495. 77. Benfield, Southern English, p.155; see also Patrick Wright, ‘The Stone Bomb’, Open Democracy (8 April 2003) [accessed 16 August 2012]. 78. F.H. Kendon to E. Benfield, 30 January 1940. CUP Archives, Pr. C. B.156, Sheet 7i. 79. H.E. Bates, ‘Report on Southern English M.S.’ CUP Archives, Pr. A. B. 411, Sheet 19iv. 80. Walter Rose, The Village Carpenter (Cambridge: Cambridge University Press, 1937), p.xvii. 81. Thomas Hennell, Change in the Farm (Cambridge: Cambridge University Press, 1934), p.ix. 82. Hennell, Change,p.ix. 83. E. Benfield to F.H. Kendon, 14 July 1941, CUP Archives, Pr. A. B.411, Sheet 18. Notes 169

84. Leavis and Denys Thompson mobilised George Sturt in this way in their Culture and Environment: The Training of Critical Awareness (London: Chatto and Windus, 1933). 85. Benfield, Purbeck Shop, pp.1–2. 86. Benfield, Purbeck Shop, p.78. 87. M.I.L., ‘Reader’s Report’. CUP Archives, Pr A.B.411, Sheet 2ii. 88. Benfield, Dorset, pp.99, 106. 89. Benfield, Dorset, p.106. 90. Benfield, Dorset, p.107. 91. Benfield, Southern English, p.132. 92. Benfield, Southern English, p.132. 93. These paintings are in the collections of the Dorset Natural His- tory and Archaeological Society and Swanage Museum and Heritage Centre respectively. The kind of cliff-quarrying depicted in Palmer’s paintings was ongoing at West Winspit Quarry throughout the Sec- ond World War, producing ‘roadstone and aggregates for building roads and airfields’, according to Peter Stanier. The quarry shrank in scale after the war and closed around 1953. See Peter Stanier, ‘The Quarried Face: Evidence from Dorset’s Cliffstone Quarries’, Mining His- tory: The Bulletin of the Peak District Mines Historical Society, 13/2 (1996), 1–9 (p.3). 94. Benfield, Southern English, p.37. 95. Benfield sent Kendon a selection of photographs taken by the Swanage firm Powells, and offered to help the Press’s photographer find examples of cutting and dressing stone. E. Benfield to F.H. Kendon, 25 January 1939. CUP Archives, Pr A.B.411, Sheets 4i and 4ii. 96. ‘A typical quarry’ and ‘Street curbing’, illustrations to Purbeck Shop, facing p.138. 97. Benfield, Purbeck Shop, p.113. 98. Benfield, Bachelor’s Knap, p.90. 99. Benfield, Purbeck Shop, p.74. 100. Benfield, Purbeck Shop, p.72. 101. Benfield, Purbeck Shop, pp.72–73. 102. Benfield, Purbeck Shop, p.74. 103. Benfield, Purbeck Shop, p.122. 104. Benfield, Purbeck Shop, p.118. 105. Benfield, Purbeck Shop, p.120. 106. Benfield, Purbeck Shop, p.120. 107. Benfield, Purbeck Shop, p.110. 108. Benfield, Southern English, p.36. 109. Benfield, Saul’s Sons, p.46. 110. Benfield, Purbeck Shop, p.52. 111. Benfield, Saul’s Sons, p.136. 112. Benfield, Saul’s Sons, p.137. 113. Benfield, Purbeck Shop, p.52. 114. Benfield, Purbeck Shop, p.52. 115. D.H. Lawrence, ‘Nottingham and the Mining Countryside’, in Phoenix: The Posthumous Papers of D.H. Lawrence, ed. by Edward D. McDonald (London: Heinemann, 1961), pp.133–140 (pp.135–136). 170 Notes

116. Lawrence, ‘Nottingham’, p.136. 117. Lawrence, ‘Nottingham’, p.136. 118. Lawrence, ‘Nottingham’, p.137. 119. Benfield, Southern English, p.79. 120. Benfield, Southern English, p.97. 121. Benfield, Southern English, p.94. 122. Benfield, Southern English, p.95. 123. D.H. Lawrence, ‘The Blind Man’, in The Tales of D.H. Lawrence (London: Heinemann, 1948), pp.243–259 (p.243). 124. Lawrence, ‘Blind Man’, pp.251, 243, 250. 125. Lawrence, ‘Blind Man’, p.258. 126. Lawrence, ‘Blind Man’, p.259. 127. Benfield, Purbeck Shop, p.108. 128. Benfield, Southern English, p.220. 129. Benfield, Saul’s Sons, p.137; Purbeck Shop, p.64. 130. Lawrence, ‘Blind Man’, p.259. 131. Lewis Mumford, Technics and Civilization (New York: Harcourt, Brace, 1934). 132. Rosalind Williams, Notes on the Underground: An Essay on Technology, Soci- ety, and the Imagination, 2nd edn (Cambridge, MA: MIT Press, 2008), pp.190–191. 133. Williams, Notes on the Underground, p.213. 134. H.E. Bates, ‘A Stoneworker’s Story’, The Spectator, 27 September 1940, p.322. 135. Raymond Williams, Marxism and Literature (Oxford: Oxford University Press, 1977), p.122. 136. Williams, Marxism and Literature, p.123. 137. Williams, Marxism and Literature, p.122. 138. Anon., ‘Purbeck Shop. By Eric Benfield’, The Listener, 7 November 1940, p.675. 139. Bates, ‘A Stoneworker’s Story’, p.322. 140. Benfield, Purbeck Shop, p.18. 141. Benfield, Purbeck Shop, p.19. 142. Benfield, Purbeck Shop, p.18. 143. Benfield, Bachelor’s Knap, p.27.

Afterword

1. Paul Farley and Michael Symmons Roberts, Edgelands: Journeys into England’s True Wilderness (London: Jonathan Cape, 2011), p.18. Bibliography

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Manuscripts and archival sources

Cambridge, University Archives, Archives of Cambridge University Press, Pr. A. B.411 Cambridge, University Archives, Archives of Cambridge University Press, Pr. B.30 Cambridge, University Archives, Archives of Cambridge University Press, Pr.C.B.109 Cambridge, University Archives, Archives of Cambridge University Press, Pr.C.B.156 London, Imperial War Museum London, Tate Archive, Eileen Agar Photograph Collection London, Tate Archive, TGA 7050PH, Negatives of 1267 photographs taken by Paul Nash London, Tate Archive, TGA 8712, Correspondence and small art works from Paul Nash and general correspondence to Eileen Agar 182 Bibliography

London, Tate Archive, TGA 9020, Photograph albums and negatives by Vanessa Bell Swanage, Swanage Museum Local Studies Centre, Clippings File

Films and radio programmes

A Matter of Life and Death, dir. Michael Powell and Emeric Pressburger (Universal, 1946) The Damned, dir. Joseph Losey (Columbia Pictures Corporation, 1963) Savage Messiah, dir. Ken Russell (MGM-EMI, 1972) Jubilee, dir. Derek Jarman (Cinegate, 1978)

Personal Correspondence

Bonett, Helena, ‘Corfe Castle Drawing’, Private Email to Author, 19 December 2011 Hakim, Lina, Personal Communication, London, 5 July 2012 Judkins, Phil, ‘Enquiry re. Brandy Bay radar station’, Private Email to Author, 16 August 2012 Index

Note: Locators in italics refer to illustrations. abstraction, 30, 32, 40 anti-tank obstacles, see anti-invasion acoustics, 61, 63, 65–6 defences see also noise Aragon, Louis, 92, 94 affordance, historical, 11 archaeology, 63, 64, 70 Agadir Crisis, 37 as approach to landscape writing, Agar, Eileen, 103–4, 106, 108 6 agricultural labourers, 123, 124, 125, and British modernism, 100 129 Architectural Review, 75, 76, 108 aircraft, 57, 60, 63, 64, 73, 132 architecture, 9, 10, 69, 75, 76, see also elevation 91, 94, 95, 96, 103, 118, 119, Aitken, Gabriel, 44 137, altitude, see elevation 143 Anachronic Renaissance,95 George Burt’s, 86–9, 139 see also anachrony of leisure, 15, 19–21, 25, 26, 30, anachrony, 6, 95–96, 111, 112 32, 76, 79, 80, 106, 107, 109 analogical thinking, 80, 104, 142 Mediterranean, 101–2 Anthropocene, 34, 141 relationship to geology, 102 anthropology, 46, 53, 124 see also anti-invasion defences; anti-industrialism, 28, 29, 65, 67, 81 follies; monuments anti-invasion defences, 24, 39 Armed With Madness, see Butts, Mary bunkers, 22, 23, 24, 25, 26, 40 art tank traps, 13, 39, 40 ethical justification for, 27 see also militarisation and life, see everyday life anti-militarism, 7, 39, 127 Ashe of Rings, 61, 62 anti-modernity, 13, 70, 141 Atlantic Wall, 23 see also Butts, Mary; compare see also anti-invasion defences modernity atmosphere, 24, 34, 36–7, 38, 57 anti-pastoralism authorial voice, 4, 141 of Eric Benfield, 129, 130, 131 avant-garde, 39 of Mary Butts, 50, 67 see also Futurism; see also anti-picturesque; compare Neo-Romanticism; Romanticism; pastoral; Post-Impressionism; picturesque Surrealism; Vorticism anti-picturesque, 68 Avebury, see earthworks of Eric Benfield, 130 antiquarianism, 4–6, 100 Badbury Rings, see earthworks anti-Semitism, 50, 58, 65, 72 Ballard Down, 23, 80, 100 see also Fascism; racism Bankes Estate, 40

183 184 Index

Barthes, Roland, 21 biographical details, 115, 116–17 Bates, H(erbert) E(rnest), 117, 128, correspondence with F.H. Kendon, 137 127, 128 bathing machines, 19–22, 30, 31 Dead Bury the Dead, The, 115, 116 analogous to amphibious tanks, Dorset, 129 23, 24 Poison in the Shade, 117 bathing tents, 21, 26, 30, 32 Purbeck Shop, 115, 117, 118, 119, bathing, 18, 19, 20–1 127, 128 nude, 20; see also naturism reception of work, 117, 118, 119, compare swimming 127–8, 137 Batt, Reg, 56–7, 72 rumours about, 120 Bauman, Zygmunt, 72 Saul’s Sons, 119, 120, 125–6 beachcombing, 106, 111 Southern English, 117, 124–5, 127, beaches 128, 129 formlessness of, 33, 35 stone: carving and sculpture, 116, and gender, 19, 20, 35, 106 117, 118, 133; attitude militarisation of, 13, 24–6 towards, 135 and sexuality, 19, 20, 41 strength, praise of, 121, 130 as sites of class conflict, 18–19, 20 Town of Maiden Castle, The, 117 as sites of popular culture, 24, 25, value of his work, 115, 119, 136–7, 26, 29–30, 31, 32, 76, 83, 138 106–10 writing: as monument-making, as spaces of contamination, 35 119–20; oppositional nature as spaces of contemplation, 36 of, 137–8 beach huts, 12, 13, 25 Benjamin, Walter, 92–3, 101 Beckles, Samuel, 98 Bennett, Arnold, 27 Bell, Clive, 31 Bertram, Anthony, 80, 81 Art, 27, 28 biographical approach, 3, 12, 16–17, photographs of, 14, 15, 16 41, 132, 141–2 Bell, Vanessa Blackpool, 108–10 attracted to Purbeck, 13–14, 119 Blondel, Nathalie, 50 Beach, Studland, The,26 Bloomsbury group, 14, 33, 45 letters, 30, 31, 37–8 see also Bell, Clive; Bell, Vanessa; and Omega Workshops, 37–8 Fry, Roger; photographs, 14, 15, 16, 17, 29, 30 Post-Impressionism; Woolf, resistance to ‘prettiness’, 37–8 Virginia statement on aesthetics, 40 Blunt, Anthony, 78 Studland Beach (painting), 14–15, Bond, Denis, 90 17, 26, 28, 30, 32, 33–4, 36, Boudin, Eugène, 30 37, 39 Boym, Svetlana, 7 Benfield, Eric, 2, 102–3 Bradshaw, David, 35 anti-pastoralism, 129, 130, 131 Branksome Chine, 21 anti-picturesque, 130 Brannon, Philip, 18–19, 82, 83–4, attitude towards tourists, 121, 122 85, 97, 98 Bachelor’s Knap, 121–4, 126, 132 Breeze, Gary, 88 beachcombing, 111 Breton, André, 76, 79, 92 Index 185

Buckland, William, 98 Cardinal,Roger,80 bungalows, 50, 64 carving and sculpture, 86, 87, 88, 89, bunkers, see anti-invasion defences 102, 103, 107, 108, 113–14, Burrowes, E(dward) D(enies), 116–17, 118 19 chiselling compared to Burt, George, 76, 80, 81, 83, 84, 85–9 handwriting, 133 Butts, Mary Case, Judd, 56, 59 anti-industrialism, 65, 66 Causey, Andrew, 78, 81 anti-modernity, 43, 44, 45, 50, 71, caves, 59, 85, 86 74, 141 compared to temples, 84, 102 anti-pastoralism, 50, 63, 67 see also quarries; Tilly Whim; anti-Semitism, 50, 58, 65, 72 underground Armed With Madness, 44, 45, 46, de Certeau, Michel, 8, 142 47, 51, 62, 64, 65, 66 chalk hills, see downland Ashe of Rings, 61–62 de Chirico, Giorgio, 77, 106 attitude to Bloomsbury, 45, 50, 66 chorography, 4–6 attitude to democracy, 66, 67 see also landscape writing; new attitude to J.G. Frazer, 46 nature writing attitude to machines and cinemas, 64–5 technology, 64–66, 73 in Swanage, 106 attitude to Surrealism, 76–7 see also films attitude to town life, 44, 66, 123 class, 17–19, 20, 66–7, 68, 69, 83, ‘call to order’, 54, 64 108–11, 119, 121–2, 123 communion with landscape, 47, coincidence, geographical principle 58, 61, 63 of, 7–8, 15–16, 75, 142 ‘Corfe’ (poem), 48–9, 67, 68 Colquhoun, Ithell, 104, 105, 106 Crystal Cabinet, The, 43, 58 Communism, see revolution Death of Felicity Taverner, 44, 47, Connor, Steven, 52 50, 57–9, 60, 61, 62, 63, 64, Conservatism 65, 68 in rural preservation movement, ‘dis-ease’, 46, 54, 58 67–8 ‘Hollow Land’, 44, 49 in Victorian science, 54 Journals, 46, 54, 62, 73 Constable, John, 34 ‘knight’s move’, 7, 62 Cook, Olive, 26, 29, 90 ‘mana’, 51, 53, 54, 63, 72, 104 Corbett, David Peters, 39 moral quest, 46, 51 Corbin, Alain, 18, 34 reception compared to Benfield, Corfe Castle, 30, 32 118–19 Cornwall, 24, 44, 104, 106, 116 in Swanage, 75 Cosgrove, Denis, 8 Traps for Unbelievers, 51, 64 Council for the Preservation of Rural upbringing, 43 England, 50, 69, 110 Warning to Hikers, 44, 50, 64, 66–7 countryside, see rural Crawford, O(sbert) G(uy) camouflage, 24 S(tanhope), 64, 70, 73 see also visibility Creech Grange Arch, 90, 91 canvas, 19, 24, 25 Crystal Cabinet, The, 43, 58 186 Index

Damned, The , 114 faults (geology), 90, 101, 112, 143 Darwin, Charles, 97 films Davies, Hugh Sykes, 77 Damned, The, 114 DeathinVenice, 32–33 Jubilee, 114 Death of Felicity Taverner, see Butts, Matter of Life and Death, A, 57 Mary military, 22–3, 25–6 degeneration, 70 Savage Messiah, 113–14 and the city, 123 set in quarries, 113–14 and industrial art, 29 see also cinemas development, industrial and First World War, 7, 23, 34, 36, 39, 46, touristic, 13, 50, 58, 64, 76, 60, 64, 69, 70, 135, 137 82–3, 106–7, 110–11, 140 flight, see aircraft di Giorgio (Martini), Francesco, 95 folk art, 107–8 dissolution, 33, 34, 35, 101, 102 see also popular culture Doolittle, Hilda, see H.D. follies, 89–90, 91, 92, 95, 96, 142 Dorset Shell Guide, 94, 98, 99, 101, compare ruins 110–11 follyisation, 82, 90, 91, 96, 142–3 downland, 44, 61, 64, 70, 73, 90, 91 foreign bodies, 1, 72, 125, 126 Drayton, Michael, 4–6 see also anti-Semitism; jazz Durlston, 80, 82, 83–9, 98, 101 Forster, E(dward) M(organ), 1, 93 Castle, 86, 94 Fort Henry, 22, 26 Great Globe, 86, 87, 88, 89 fossils, 10, 11, 76, 97–100, 101, 103, 111, 142 earthworks and theology, 97–8 Avebury, 70, 96 Foy, Roslyn, 50 Badbury Rings, 70 Frazer, J(ames) G(eorge), 45–6, 51 Maiden Castle, 100, 117 Freud, Sigmund, 78, 81, 96 Einstein, Albert, 52, 62 Fry, Roger, 26–8, 29, 35, 37, 38, 50, 66 elevation, 1, 63–4, 73, 132 Futurism, 60, 101 Eliot, T(homas) S(tearns), 36, 45 empire, solidity of, 87 Gardiner, Rolf, 50, 67 environment, 34, 36, 39, 136 Gascoyne, David, 77 Epstein, Jacob, 118, 135 Gaudier-Brzeska, Henri, portrayed Ernst, Max, 77, 94 on film, 113–14 ether, 52–54, 61 genius loci,4,5,6–7,8,18 Evans, (Mary) Myfanwy, 100 geology, 34, 75 everyday life determining regional character, and art, 2, 26–7, 28, 29, 30, 94, 104, 124–5 119; see also popular culture and folding of time, 95, 142 reversal of, 76, 109, 111 geological thinking, 97–105, 111–12, Exercise Smash, 22 142–3 ghosts, 57, 58–9 Farley, Paul, and Michael Symmons haunting, 124 Roberts, 4, 141 see also occultism; paganism Fascism, 50, 105, 109 Gilpin, William, 68, 94 see also anti-Semitism; racism Giotto (di Bondone), 27, 33 Index 187

Gore, Spencer, 2 insularity, 31, 44, 124 gramophones, 65–6 compare peninsularity Grant, Duncan, 38 internationalism, 6–7, 37 Gray, Fred, 20 Greenwood, Walter, 110 James, M(ontague) R(hodes), 73 guidebooks, 13, 18–19, 82–4, 85, 97, Jamie, Kathleen, 4 98, 106–7 Jarman, Derek, 114 see also Dorset Shell Guide jazz, 66, 67–8 Jennings, Humphrey, 77, 106 Hardy, Thomas, 118 Joad, C(yril) E(dwin) M(itchinson), Return of the Native, The, 125 67, 68 Well-Beloved, The, 126 Jones, Barbara, 29, 89, 91 Hardy, William Masters, 103 Joyce, James, 35–6 Harrison, Jane, 46, 51 Jubilee, 114 Harrison, Tom, 109 Jurassic Coast, 88, 97 H.D. (Hilda Doolittle), 45 health Keiller, Alexander, 70, 96 outdoor discourse of, 21, 82, 83, Kendon, F(rank) (Samuel) H(erbert), 130 117, 118, 127–8 heaths, 115, 129 Kimmeridge, 43, 99, 100 heath-croppers, 124–5 Kingsley, Charles, 97, 98 Klein, Melanie, 103 von Helmholtz, Hermann, 52 Kristeva, Julia, 33 Hennell, Thomas, 128 heritage, 118 Heritage Lottery Funding, 88 Lambert, David, 81–2, 84, 85, 88 UNESCO World Heritage Site, see landscape Jurassic Coast absorption and communion, 47, 58, 61, 63 Hillier, Tristram, 105 and affect, 69, 83–4, 123–4, 133 history, 73, 95, 102, 128 and ‘authentic’ belonging, 63, microhistory, 2 104, 124–5 non-linear, 6 critiques and reformulations of, Holland, Clive, 19, 83 8–9, 132 Holt, Ysanne, 2 as disciplinary commonplace, 9 Holy Grail myth, 45, 64 and fracture, 100, 101, 105, 111, horizon, 17, 30 140, 142 removal of, 33, 37, 38 industrial and post-industrial, 4, Howards End,1,93 18–19, 82, 84, 85, 86, 92, 93, Hudson, Nan, 37–8 101, 113–14, 115, 130–1, 132, humanism, 102, 103, 127 134, 137, 138 Humm, Maggie, 29, 33 informational, 72, 73 Huyssen, Andreas, 9–10 instructional, 87 militarisation of, 10, 69, 70, 73 Impressionism, 27, 30, 33 of modernity, 10, 13, 39, 50, 71, inheritance, 63, 125–6 74, 141 inscriptions, 86, 87, 88, 89 palimpsest, 80 188 Index

landscape – continued Marx, Karl, 76 power of, 139–40 Massingham, H(arold) J(ohn), 50, speaking,3,4,5,56,97 67, 68, 69, 70–1, 94, 141 ways of reading, 72 Mass-Observation, 41, 108–10 see also visibility Maxwell, James Clerk, 52 landscape writing, 3–10, 112, 142 Mediterranean, 101, 102, 103, 105 see also chorography; new nature melancholy, 21, 83–4, 133 writing memorialisation Latour, Bruno, 11 see monuments Lawrence, D(avid) H(erbert), 134, Michelson-Morley experiments, 52 135, 136 microhistory, 2 Leavis, F(rank) R(aymond), 128 militarisation Lee, Vernon (Violet Paget), 6–7 of beach, 13, 24–6 Legg, Rodney, 25, 116 of landscape, 10, 69, 70, 73 leisure of ruins, 24 displacing labour, 18–19, 83, 84, Mitchell, W(illiam) J. T(homas), 8 113 modernism, 2, 11, 29, 35–6, 39, 45, rational, 85, 86, 87–8 64, 76, 100, 116 regulation of, 18, 20, 40–2, 83 see also Futurism; relationship with war, 24–6 Neo-Romanticism; see also popular culture Post-Impressionism; Lévy-Bruhl, Lucien, 53 Surrealism; Vorticism Lewis, Wyndham, 39 modernity, 1, 2, 9–11, 13, 39, 73, 74, see also Vorticism 93, 136, 140 lighthouses, 56, 86, 106 affinity with present, 10, 17 limestone, 44, 97, 101–3, 104, 111, as process of 142 ‘atmosphere-explication’, 36–7 see also carving and sculpture; ‘cult of nature’ produced by, 63, 67 Portland stone; Purbeck stone; definition of, 10 quarrying encroachment of, 44, 50, 58, 70, Lodge, Oliver, 52 110 London industrial, 28, 29 connected to Purbeck, 1, 48, 68, language fit for, 28 80, 116, 121, 123, 133 ‘lateral potentialities’ of, 7 Losey, Joseph, 114 no outside to, 40, 70–1, 73, 74, Lovell, Bernard, 55, 56 139, 141 Lulworth Cove, 103 compare anti-modernity Lulworth Ranges, 69 monuments, 26, 70, 76, 79, 80, 83–4, 86–7, 88, 89, 90, 91, 95, Macfarlane, Robert, 3 96, 108, 119, 127, 138 Madge, Charles, 109 Moore, G(eorge) E(dward), 27–8 Maiden Castle, see earthworks morality, 18, 19, 20, 27, 28, 40–2, 46, Maitland, Cecil, 43, 44, 75 51, 53, 54, 59, 64, 68, 135 Mann, Thomas, 33 Morris, William, 44 maps, 12, 42, 57, 77, 124, 133–4 Mowlem, John, 76, 81 Marinetti, Filippo Tommaso, 60 Mumford, Lewis, 72, 136 Index 189

Nagel, Alexander, and Christopher ‘Steps in a Field near Swanage’, 78, Wood, 95 79, 91, 95–6 see also anachrony ‘Unseen Landscapes’, 90 narrativity, 4, 8, 16, 42, 71, 139, ‘View from 2, The Parade of the 141–2 Old Quay and Pier, Swanage’, Nash, Margaret, 90 107 Nash, Paul, 11, 12, 63, 64, 119, 122, Swanage, 99, 104 139, 140, 142, 143 ‘Swanage, or Seaside Surrealism’ anti-industrialism, 81 (article), 75, 76, 78–9, 82, 89, and archaeology, 100 94, 96, 104 attitude to popular culture, National Trust, 12, 20, 26, 40, 41 107–8 nature attitude to Swanage architecture, cult of, 63, 67 76, 111 and culture, 3, 9, 10, 13, 63, 67, attitude to Swanage visitors, 76, 87, 88, 101, 102, 104, 111, 141 81, 110 failure of, 36, 39 ‘Clock Tower, Swanage, Double idea of, 61, 67, 71 Exposure’, 79, 80, 95–6 nature writing, see new nature collaboration with Eileen Agar, writing 103–4, 106 naturism, 20, 40–1 ‘Creech Folly, Dorset’, 90, 91 Neo-Romanticism, 50, 64, 140 criticised by David Lambert, New Arcadian Journal, 81–2 81–2 new nature writing, 3–4, 141 Dorset Shell Guide, 94, 98, 99, 101, see also chorography; landscape 110–11 writing Folly Landscape,90 noise, 66, 68, 72, 73 see also and geological thinking, 105 acoustics nudism, see naturism Harbour and Room,80 involvement with Surrealism, 75–7, 78, 80, 94, 96 Obelisk Press, 116 Landscape from a Dream,77 occultism, 35, 43, 45, 51, 66, 71, 73, letters, 76, 80–1, 90, 94 114, 121, 122, 124, 130, 138 life in Swanage, 75 see also ghosts; paganism ‘Monster Field’, 99 Omega Workshops, 37–8 ‘Nature Sculptures, Worth Owen, Alex, 71 Matravers’, 108 Owen, Richard, 97, 98 ‘Objet Trouvé on Kimmeridge Beach’, 99, 100 pacifism, see anti-militarism ‘Old Quarry Hut, near Swanage’, paganism, 2, 8, 43–4, 66, 72, 94–5, 91, 92 104, 121, 126, 129–30 photographs, 78, 79, 80, 90, 91, see also ghosts; occultism 92, 93, 95–6, 98, 99, 100, 101, Page, Violet, see Lee, Vernon 107, 108 palaeontology, 97–8 ‘Quarry Hut, near Swanage’, 92, Palmer, Alfred, 130 93,95 Pankhurst, Sylvia, 127 190 Index

pastoral, 1, 50, 68, 94, 114, 129, 130, Powell, Michael, and Emeric 131 Pressburger, 57 see also Romanticism; picturesque; Powys, Llewellyn, 126 compare anti-pastoralism; and brothers, 129 anti-picturesque Prescott, Anne, 5–6 Patterson,Ian,50 Priestley, J(ohn) B(oynton), 110 peasants, 64, 67, 124 psychoanalysis, 70, 109 peninsularity, 41–2, 43, 126, 139, Freud, Sigmund, 78, 81, 96 140 Klein, Melanie, 103 compare insularity Kristeva, Julia, 33 Penrose, Roland, 108 Punch and Judy, 83 Peters, John Durham, 61 Purbeck Hills, 1, 43 photographs, nature of, 21, 96 Purbeck Shop, see Benfield, Eric photography Purbeck stone, 101, 108 aerial, 63–4 bankers (unshipped stone), 18–19 relationship to painting, 29–30 endurance of, 127 as tourist activity, 83 impersonality of, 135 mediaeval carvings, 103 see also Bell, Vanessa; Nash, Paul merchants, 18–19; see also Burt, physics, 51, 52, 53–4, 62, 71 George picturesque, 9, 18, 19, 68, 82, 113 industrial landscape, 18–19, 82, see also Romanticism; pastoral; 84, 92, 93, 101, 113–14, 115, compare anti-pastoralism; 130–1, 132, 137, 138 anti-picturesque trade in, 111, 128, 137 Piper, John, 63 see also carving and sculpture; Piper, Myfanwy, see Evans, (Mary) limestone; Portland stone; Myfanwy quarrying Piranesi, Giovanni Battista, 9–10 Poly-Olbion,4–6 quarries Poole, 18, 21, 43, 50, 140 as film sets, 113–14 Poole Harbour, 25, 58 as spaces of separation, 113–14, popular culture, 29, 88, 89 115, 132–3 and the beach, 20–1, 25, 26, 76, see also caves; Tilly Whim; 83, 106–10 underground folk art, 29, 107–8 quarry huts, 91, 92, 93, 95, 101, 140 see also leisure quarrying Portland, Isle of, 102, 113, 114, 126 activity in 1930s and 40s, 128, 138 Portland stone, 101, 102, 113, 114 conditions, 130–1 see also carving and sculpture; culture, 18–19, 82, 102–3, 116, limestone; Purbeck stone; 120, 122, 125, 128, 133–5, quarrying 137–8 Post-Impressionism, 15, 38, 39 emotional effect of, 132–3 aesthetic debates surrounding, history of, 84, 101, 113 26–8 represented and imagined by exhibitions, 26, 31, 32 non-quarriers, 84, 85, 86, Pound, Ezra, 45, 101, 105 113–14, 130–1, 132, 136 Index 191

sentimentalised, 130, 131 labour, realities displaced, 2, 9, see also carving and sculpture; 18–19, 119, 130 limestone; Portland stone; as locus of modernity, 2, 40, 70, Purbeck stone 71, 74 Quattro Cento, The, 101, 103 in new nature writing, 3 as sacred, 43–4, 63, 129–30 racism, 67, 83 significance for modernist studies, see also anti-Semitism; Fascism 2–3 radar, 55–7, 59–60, 72, 73 see also Council for the and ether, 52–3 Preservation of Rural England ground returns, 55, 56, 57, 72, 73 Russell, Ken, 113–14 RAF Brandy Bay, 47, 69 Russell, Walter Westley, 30, 32 see also sound mirrors; Telecommunications Research Saint Aldhelm’s Chapel, 55–6 Establishment Saint Aldhelm’s Head, 47, 48, 73, radio (wireless), 52–3, 60, 70, 138 101 ramblers, 41, 66–7, 68, 85, 86 salvage, see shipwrecks and salvage Read, Herbert, 77, 94, 106 Sands, Ethel, 37–8 Remy, Michel, 77 Sauer, Carl, 8–9 Renaissance art, 94–5, 102, 103 Savage Messiah, 113–14 resorts, coastal, 18, 20, 21, 29, 81, sculpture, see carving and sculpture 82, 83, 93, 106–7, 108–10 seaside surrealism (concept), 75, 76, revolution, 58, 92–3, 122–3 78, 97, 108, 111–12 Rimbaud, Arthur, 76 compare Surrealism (artistic Robinson, (William) Heath, 25 movement); ‘Swanage, or Rodker, John, 75 Seaside Surrealism’ (article) Romanticism, 32, 34, 68, 77, 84, 85, Second World War, 21–5, 36, 39, 94 47–8, 55, 56–7, 69, 130 see also pastoral; picturesque; secularism, 45, 57, 58 compare anti-pastoralism; Selden, John, 4–6 anti-picturesque Serres, Michel, 72 Rose, Walter, 128 sexism, 124, 134–5 Rowe, A(lbert) P(ercival), 47–8 sexuality, 19–20, 41–2, 64, 122, Rowlandson, Thomas, 19 135–6 ruins, 61, 69, 92, 93, 94–5, 96 Shelley, Percy Bysshe, 68 authentic, 10 shipwrecks and salvage, 18, 56, 81, figurative, 138, 143 125, 126 militarisation of, 24 Shell Guides, see Dorset Shell Guide modern, 9–10 Simmel, Georg, 10 wartime, 23, 39–40, 84 Sloterdijk, Peter, 34, 36–7 compare follies Smiles, Sam, 70 Rupke, Nicolaas, 97, 98 Society for Psychical Research, 54 rural sound mirrors, 60 corrective to urban life, 46, 50, 121 South Egliston, 43, 44, 47, 48, 69, 75 threatened by modernity, 43, 64, Southern English, see Benfield, Eric 67–8, 69, 70, 110, 140–1 Spalding, Frances, 37 192 Index

spiritualism, 54, 61, 62 swimming, 20, 21 Steer, Philip Wilson, 2, 30, 31, 32, 33 compare bathing Stephen, Virginia, see Woolf, Virginia Symmons Roberts, Michael, and Stokes, Adrian, 101–3, 104, 105, 111 PaulFarley,4,141 Quattro Cento, The, 101, 103 Stones of Rimini, The, 101–3 tanks, 22, 23, 24, 57, 69, 122 Stonebridge, Lyndsey, 102 Telecommunications Research Stones of Rimini, The, 101–3 Establishment, 47–8, 49, 50–1, Stoppani, Antonio, 34 55, 56–7, 69, 71, 72, 73, 142 Straussler, Nicholas, 22 Tempio Malatestiano, 101, 102, Studland, 12, 13–17, 20, 22, 23, 26, 105 29, 30–1, 32, 40–2, 139 Tennyson, Alfred, 86, 87 Studland Beach (painting), see Bell, Tickner, Lisa, 26, 33, 34 Vanessa Rückenfigur,32 Studland Church, 103 Tilley, Christopher, 9 Studland United Nudists, 40–1 Tilly Whim (quarry), 83, 84, 85, 86, 101 Sturt, George, 127–8 see also caves; quarries; Sullivan, J(ohn) W(illiam) N(avin), underground 62 time, folded or multiple, 10, 17, 24, supernatural, see occultism 61, 63, 75, 95, 96, 112, 114, Surette, Leon, 45 130–1, 138, 142 Surrealism (artistic movement), To The Lighthouse, 28, 30, 36 76–9, 81, 90, 92–3, 94, 103, 108, topographical writing see 109, 111 chorography; landscape writing; British strand of, 77, 105–6, 140 new nature writing revolutionary claims contested, topography, 10 78, 106 of exposure, 18, 22, 40–1 compare seaside surrealism tourism, 13, 67–9, 76, 82–3, 86–90, (concept) 106–11, 121 Swaine, Hume, 84–5, 86 see also development; trippers Swanage Trevelyan, Julian, 106, 109 beach, 1, 12, 30, 31,40 camouflage work, 24, 25 buildings, 79, 80, 93, 95–6, 137 triangulation, 8, 12, 39, 42 historical changes, 18–19, 76, 81, trippers, 13, 20, 43, 47, 67, 107, 141 82, 83, 110, 140 see also development; tourism paintings of, 30, 31, 80, 104, 107 Tunnard, John, 106 photographs of, 75, 78, 79, 80, 93, Turner, Joseph Mallord William, 18, 95–6, 107 34 popular culture, 83, 106–7, 111 Tyneham, 43, 69 pretensions mocked, 76, 93–4 summer visitors, 76, 81, 107, 110 von Uexküll, Jacob, 34 see also Durlston Ulysses, 35–6 ‘Swanage, or Seaside Surrealism’ underground, 114, 131, 132–3, 134, (article), see Nash, Paul 135, 136 Swanage Times, 110, 117 see also caves; quarries; Tilly Whim Index 193

unevenness, 115, 137, 138, 140, 143 Williams, Raymond unexploded ordnance, 40, 42 and landscape, 9 and residual culture, 137 vaudeville, 83, 106 ‘When Was Modernism?’, 2–3 Victorian culture, attitudes towards, Williams, Rosalind, 136 76, 88 Williams-Ellis, Clough, 64, 67, 71 Virilio, Paul, 23–4, 26, 40 Winspit, 113, 114 visibility, 48, 58, 73 wireless, see radio Wood, Christopher, and Alexander exposure, 19–20, 21, 40–1 Nagel, 95 opacity, 44–5, 47, 58 see also anachrony translucency, 44–5, 46, 47, 49, 57, Woolf, Virginia 58, 59, 72 Between the Acts,66 Vorticism, 39, 101 ‘Mr. Bennett and Mrs. Brown’, 27 photographs of, 14, 15, 17, 21, 29 Wadsworth, Edward, 105 ‘Solid Objects’, 34–5 Walker, Ian, 94 To the Lighthouse, 28, 30, 36, 39 walkers, see ramblers in Vanessa Bell’s letters, 30–1 Walton, John, 29 Wordsworth, William, 68, 77, 94 Waste Land, The, 36, 45 Worpole, Ken, 4 Watkins-Pitchford, Denys (‘BB’), 129, Worth Matravers, 47, 48, 49, 55, 56, 130, 131 108, 113, 120, 121, 122, 123 Watson-Watt, Robert, 69–70 Wright, Patrick, 1–2, 62 weather, see atmosphere writing place, see chorography; Wells, H(erbert) G(eorge), 23, 27 landscape writing; new nature Weston, Jessie L(aidlay), 45 writing Weymouth, 34, 114 Wynne, Brian, 53, 54