Volume 6, Issues I–Iv

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STUDIES Mervyn Peake, Oscar Wilde and Aestheticism ROB HINDLE 3 Drawings by MERVYN PEAKE: “The King of Z” 26–27 “The King of Y” 28 “The King of J” 31 “The King of R” 33 “The King of I” 35 “The Kings”: Mervyn Peake’s unpublished alpha- betical book, by ANDREW HALL 29 Cinematic Features in Gormenghast by SOPHIE AYMÈS 36 The Tragedy of Fuchsia Groan by E B FROVET 43 Documentary Peake: the BBC “Bookmark” programme reviewed by COLIN GREENLAND 46 A portrait painted by MERVYN PEAKE rear cover Vol. 6, no 1 November 1998 STUDIES Mervyn Peake’s letters to Chatto & Windus edited by G PETER WINNINGTON 5 Mr Pye: an Ovidian curse for a dichotomized evangelist by PIERRE FRANÇOIS 39 When the Penguin speaks the audio book of Titus Groan reviewed by JOHN DONALDSON 48 News Roundup 51 Drawings by MERVYN PEAKE The dustwrapper of Shapes & Sounds 25 Mother and Child (pen and ink) 29 The dustwrapper of The Past Must Alter rear cover Vol. 6, no 2 April 1999 STUDIES Titus Alone, or the Spirit of Carnival ‘after the Catastrophe’ by PIERRE FRANÇOIS 4 Literalized Metaphors and the Comedy of Excess in Mr Pye by ALICE MILLS 25 News Roundup 40 Notes on the previously unpublished works by MERVYN PEAKE in this issue 43 Works by MERVYN PEAKE: Uncle Sam says it with flowers 3 Cobo Bay, Guernsey (1934) 22–23 Concertina island 42 A Christmas card drawing rear cover Vol. 6, no 3 October 1999 STUDIES Editorial 5 An Excellence of Peake by Michael Moorcock 7 The BBC’s ‘Gormenghast’ and The Art of Gormenghast reviewed by G Peter Winnington 15 The Audiobook of Gormenghast reviewed by John Donaldson 21 The paradox of Keda: a post-colonial (Gothic) reading of Gormenghast by Andrew H S Ng 26 Recent publications 44 News Roundup 46 Index to Volume 6 47 Drawings by Mervyn Peake: Bung ho! 14 Whoops! 25 Drawing of an old man rear cover Vol. 6, no 4 April 2000.

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ERRATA SLIP Mcguinness, Mark (Ed.), Titus Alone
ERRATA SLIP McGuinness, Mark (ed.), Titus Alone: A New Life ISSN 0309 1309 CLAIRE PEÑATE (PEAKE) – INTRODUCTION line 1, for ‘Titus Alone’ read Titus Alone (ditto lines 15, 22) line 2, for Father read father (ditto lines 5, 24, 31, 33) line 6, for Mother read mother line 7, for that read and line 10, for Titus Groan read Titus Groan line 12, for characters read characters’ line 13, for writs read write line 20, for have read had line 21, for ‘Gormengast’ read Gormenghast line 21, for thought read thought. line 32, for Titus Alone read Titus Alone NICK FREEMAN - ‘THE INTER-WAR ROOTS OF TITUS ALONE’ Bibliography line 2, for Aldington, Richard read Fussell, Paul PIERRE-YVES LE CAM – ‘THE SCIENCE FICTION WORLD OF TITUS ALONE’ Two pages are missing from this article, printed below. The bold text appears in the printed book, and the normal face text is missing. ‘The time gap justifies the new standards and techniques, however incredible they may appear to the contemporary world. Peake's originality consists in doubling the temporal distortion which affects not only the reader but also Titus. The reader senses in the science to come the technological achievements in Titus Alone such as the laser weapon; Titus moves from a medieval environment to a futuristic one, and the earl's wonder is obvious when he sees the scores of rockets or the metal and marble architecture of the dome and the arena: (There) was a copper dome the shape of an igloo but ninety feet in height, with a tapering mast, spider-frail and glinting in the sunlight (...).
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The Last Station
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Titus Groan / Gormenghast / Titus Alone Ebook Free Download
THE GORMENGHAST NOVELS: TITUS GROAN / GORMENGHAST / TITUS ALONE PDF, EPUB, EBOOK Mervyn Laurence Peake | 1168 pages | 01 Dec 1995 | Overlook Press | 9780879516284 | English | New York, United States The Gormenghast Novels: Titus Groan / Gormenghast / Titus Alone PDF Book Tolkien, but his surreal fiction was influenced by his early love for Charles Dickens and Robert Louis Stevenson rather than Tolkien's studies of mythology and philology. It was very difficult to get through or enjoy this book, because it feels so very scattered. But his eyes were disappointing. Nannie Slagg: An ancient dwarf who serves as the nurse for infant Titus and Fuchsia before him. To see what your friends thought of this book, please sign up. I honestly can't decide if I liked it better than the first two or not. So again, mixed feelings. There is no swarmer like the nimble flame; and all is over. How does this vast castle pay for itself? The emphasis on bizarre characters, or their odd characteristics, is Dickensian. As David Louis Edelman notes, the prescient Steerpike never seems to be able to accomplish much either, except to drive Titus' father mad by burning his library. At the beginning of the novel, two agents of change are introduced into the stagnant society of Gormenghast. However, it is difficult for me to imagine how such readers could at once praise Peake for the the singular, spectacular world of the first two books, and then become upset when he continues to expand his vision. Without Gormenghast's walls to hold them together, they tumble apart in their separate directions, and the narrative is a jumbled climb around a pile of disparate ruins.
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TLG to Big Reading
The Little Guide to Big Reading Talking BBC Big Read books with family, friends and colleagues Contents Introduction page 3 Setting up your own BBC Big Read book group page 4 Book groups at work page 7 Some ideas on what to talk about in your group page 9 The Top 21 page 10 The Top 100 page 20 Other ways to share BBC Big Read books page 26 What next? page 27 The Little Guide to Big Reading was created in collaboration with Booktrust 2 Introduction “I’ve voted for my best-loved book – what do I do now?” The BBC Big Read started with an open invitation for everyone to nominate a favourite book resulting in a list of the nation’s Top 100 books.It will finish by focusing on just 21 novels which matter to millions and give you the chance to vote for your favourite and decide the title of the nation’s best-loved book. This guide provides some ideas on ways to approach The Big Read and advice on: • setting up a Big Read book group • what to talk about and how to structure your meetings • finding other ways to share Big Read books Whether you’re reading by yourself or planning to start a reading group, you can plan your reading around The BBC Big Read and join the nation’s biggest ever book club! 3 Setting up your own BBC Big Read book group “Ours is a social group, really. I sometimes think the book’s just an extra excuse for us to get together once a month.” “I’ve learnt such a lot about literature from the people there.And I’ve read books I’d never have chosen for myself – a real consciousness raiser.” “I’m reading all the time now – and I’m not a reader.” Book groups can be very enjoyable and stimulating.There are tens of thousands of them in existence in the UK and each one is different.
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1 Introduction: the Urban Gothic of the British Home Front
Notes 1 Introduction: The Urban Gothic of the British Home Front 1. The closest material consists of articles about Elizabeth Bowen, but even in her case, the wartime work has been relatively under-explored in terms of the Gothic tradition. Julia Briggs mentions Bowen’s wartime writing briefly in her article on “The Ghost Story” (130) and Bowen’s pre-war ghost stories have been examined as Gothic, particularly her short story “The Shadowy Third”: see David Punter (“Hungry Ghosts”) and Diana Wallace (“Uncanny Stories”). Bowen was Anglo-Irish, and as such has a complex relationship to national identity; this dimension of her work has been explored through a Gothic lens in articles by Nicholas Royle and Julian Moynahan. 2. Cultural geography differentiates between “place” and “space.” Humanist geographers like Yi-Fu Tuan associate place with security and space with free- dom and threat (Cresswell 8) but the binary of space and place falls into the same traps as all binaries: one pole tends to be valorised and liminal positions between the two are effaced. I use “space” because I distrust the nostalgia that has often accreted around “place,” and because – as my discussion of post- imperial geographies will show – even clearly demarcated places are sites of incorrigibly intersecting mobilities (Chapter 2). In this I follow the cultural geographers who contend that place is constituted by reiterative practice (Thrift; Pred) and is open and hybrid (Massey). 3. George Chesney’s The Battle of Dorking: Reminiscences of a Volunteer (1871) was one of the earliest of these invasion fictions, and as the century advanced a large market for the genre emerged William Le Queux was the most prolific writer in the genre, his most famous book being The Invasion of 1910, With a Full Account of the Siege of London (1906).
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The Pubs of Fitzrovia by Stephen Holden in a Dance to the Music of Time Powell Possibly Others Too
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Abbotsbury, 47 Aberdare, Glamorganshire, 23, 97 Ackland, Rodney, 205, 242N.5 Africa, 27, 41–2, 58, 231N.3, 232Nn.4 and 13
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Booklet Gormenghast
A FANTASY OPERA BY IRMIN SCHMI DT Irmin Schmidt, founder of the legendary group CAN, has written an opera: GORMENGHAST. Commissioned by Wuppertaler Bühnen, the work was performed in the English language and premiered at the Operahouse Wuppertal on 15. November 1998. Inspired by Mervyn Peake’s masterpiece of gothic fantasy, English novelist Duncan Fallowell wrote the libretto in St. Petersburg, combining romance, comedy and futurism into an adventure of epic strangeness peopled by unforgettable characters. The opera is in 3 acts and centres on the rise and fall of Steerpike, a courageous, clever and charming kitchen-boy who becomes by degrees the murderous tyrant of Gormenghast Castle and its domain. In the process he bewitches and destroys Fuchsia the daughter of Gormen ghast’s opium-addicted ruler. Finally he meets his own dramatic death. The other inhabitants of this vivid decaying realm are drawn into the terrible tale. Irmin Schmidt, who studied under Ligeti and Stockhausen, not only created in CAN one of the most influential of avant garde groups, but is also a classical conductor and pianist and has com- posed music for over 70 film productions. His work transforms elements of the popular, ethnic and classical into a wholly original musical language . In both libretto and music, this integration of high culture and popular culture is not like any- thing which has gone before: it is achieved with perfect naturalness, carrying the art of opera forward into a new phase. The result is both accessible and magically unexpected: GORMENGHAST is a major addition to the world of musical theatre.
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Titus Groan/Gormenghast/Titus Alone
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STUDIES Are © G Peter Winnington 2013
10.2478/peakest-2013-0016 STU DIES Vol . 13, no 2 April 2 013 Unless otherwise indicated, the contents of Peake STUDIES are © G Peter Winnington 2013 . Acknowledgement is made to the Mervyn Peake Estate for permission to reproduce Mervyn Peake’s words and images. Unless otherwise indicated the previously unpublished works by Mervyn Peake in this issue are © the Mervyn Peake Estate " !#. Edited and published by G Peter Winnington, 2 ch du Collège, 1453 M auborget , Switzerland. Tel. +41 24 436 22 32 E-mail [email protected] Home page http://peakestudies.com 10.2478/peakest-2013-0016 News Roundup On 13 March Fabian Peake read some of his father’s poetry at Fusion Arts at the East Oxford Community Centre, Princes Street, Oxford. An exhibition called ‘Ships of Stone: the islands of Mervyn Peake’ opened at the new Gerald Moore Gallery at Eltham College on 16 March (2 to 5 p.m.). It can be viewed every Saturday (12 to 4 p.m.) until 17 May 2013. It will be showing the illustrations for Captain Slaughter - board , Treasure Island, and Mr Pye, and as well as two self-portraits. An exhibition called ‘The Peake Family’ opens on 2 April 2013 at the Westminster Reference Library, London, and runs for a couple of weeks. It will display paintings and drawings by Mervyn Peake, paint - ings by Maeve Gilmore and childhood paintings by Sebastian Peake. During the exhibition one of Fabian’s sons, Lewis, will be running workshops on illustration and computer-generated imagery. There will also be a poetry reading featuring the poems of Mervyn Peake, Fabian Peake and his daughter Clover.
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Cavalier Treatment
Volume 6 Number 2 Article 13 4-15-1979 Cavalier Treatment Lee Speth Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Speth, Lee (1979) "Cavalier Treatment," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 6 : No. 2 , Article 13. Available at: https://dc.swosu.edu/mythlore/vol6/iss2/13 This Column is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract Notes the possibility of a parody of “Let Me Linger,” a 1937 poem by Mabel Ingalls Westott, in Mervyn Peake’s Titus Groan. Additional Keywords Peake, Mervyn. Titus Groan—Sources; Wescott, Mabel Ingalls. Let Me Linger and Other Poems This column is available in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: https://dc.swosu.edu/mythlore/vol6/iss2/13 or Lewis or White or just about anybody else you care to Deschene, James M.
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Primus Theatre: Establishing an Alternative Model
PRIMUS THEATRE: ESTABLISHING AN ALTERNATIVE MODEL FOR CREATING THEATRE IN ENGLISH CANADA by Claire Borody A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Centre for Study of Drama University of Toronto Copyright © by Claire Borody 2009 Abstract Primus Theatre: Establishing an Alternative Model for Creating Theatre in English Canada Claire Borody Doctor of Philosophy 2009 Graduate Centre for Study of Drama University of Toronto This study of Primus Theatre is evidence of many things. First and foremost it is a long overdue print recognition of Primus Theatre’s substantial artistic accomplishments and its important contribution to the development of theatre-making in English-speaking Canada. In examining the various factors contributing to the founding of the theatre and the extremely challenging conditions in which company members functioned over the years, it remains truly remarkable that Primus Theatre existed at all. Three central determinations emerge from the examination of Primus Theatre’s practice. The theatre truly was a pioneering venture in English Canada. Company members established an “as-if-permanent” ensemble that engaged in the creation of original performance work drawn from research that emerged from their regular training practice. The company adopted a theatre-making practice generated by the Odin Theatre in Denmark and then adapted it to vastly different cultural and fiscal contexts. It can also be determined that the origins of the company are inextricably bound to Richard Fowler’s personal artistic journey. His strong sense of the creative and communal potential for theatre not only fuelled his own creative journey but also inspired National Theatre School students to launch their own acts of courage.
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