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Peake Studies 14-2 April 2015

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Peake Studies 14-2 April 2015 STUDIES Peake House: three previously unpublished illustrations for Bleak House by MERVYN PEAKE 3 Dark and Deathless Rabble of Long Shadows: Peake, Dickens, Tolkien, and ‘this dark hive called London’ by HADAS ELBER-AVIRAM 7 News Roundup 33 Illustration: Fanny facing Surf in the kitchen of Blacktales castle in Monsieur Noir 34 The Things They Say 41 Vol. 14, no 2 April 2015 Peake STUDIES ISSN 2296–6404 Edited and published by Peake House G Peter Winnington, Au Village, 1453 MAuborGEt, Switzerland. tel. +41 24 436 22 32 E-mail [email protected] Home page http://peakestudies.com unless otherwise indicated, the contents of Peake STUDIES are © G Peter Winnington 2015. Acknowledgement is made to the Mervyn Peake Estate for permission to reproduce Mervyn Peake’s words and images. they are © the Mervyn Peake Estate. Peake STUDIES is available free from http://www.degruyter.com/view/j/peakest and on the Peake Studies website. Go to http://peakestudies.com for more information. Contributions are always welcome. Send your ideas to the editor. 4 5 More of Peake’ wonderful illustrations for Bleak House have come to light. On the previous page is Mr Guppy; below are Mrs Pardiggle’s three sons, and above is Mrs Pardiggle herself. Images very kindly supplied by Mike Kemp. Further details at http://www.kempbooksellers.co.uk/peake.htm Dark and Deathless Rabble of Long Shadows: Peake, Dickens, Tolkien, and ‘this dark hive called London’ Hadas Elber-Aviram Reader, forgive in me the pedant. Here you will find no fresh approach to the art of writing[,] no technical frontiers have been extended between these covers. Of this I am neither proud nor penitent. In this my first novel I lean heavily and gladly upon an archaic manner that I love. If I am stilted I hope it will follow that I am off the ground for only thus might I have seen them face to face. Mine only then, the fancy. Yet even here [I] am surely the debtor to many sources[:] not least among them, being, I imagine[,] the genius of Charles Dickens with his dark and deathless rabble1 of long shadows.2 THIs evOCaTIve aDDRess to the reader, on the third page of Peake’s work- ing notebook for chapters 60 and 61 of Titus Groan (TG), is preceded by a number of false starts, and like them has been heavily crossed out with a black crayon. as far as I know, it is Peake’s only express acknowl- edgment of his debt to Dickens.3 That Peake was deeply influenced by Dickens will come as no sur- prise to students of his life and work. Peake’s biographers and scholars alike have pointed out Dickensian resonances in TG and Gormenghast (G), stressing especially the impact of Dickens’s Bleak House (BH) for the obvious reason that it was one of his favourite books and the only Dickens novel that he was commissioned to illustrate (circa 1945).4 Maeve Gilmore recounted that she read ‘Bleak House, several other [novels by] Dickens’ to Peake as he sat drawing illustrations (p.72). Peake’s close friend Gordon smith similarly recalled that ‘when Mervyn 8 Peake STUDIES 14:ii Dark and Deathless Rabble 9 illustrated a book, he first soaked himself in the text, until he felt almost missing. It may be, on the face of it, deceptively quiet through lack of a part of it. This was particularly true of Dickens and the drawings he did graphic experiment, and yet hold some inner life’ (pp.7–8). It was not for Bleak House. each book he read was an education, and Dickens was ‘graphic experiment’, or what he had termed in earlier iterations of the revelation’ (p.100). Peter Winnington has identified a range of affinities address, ‘heterodox language’,8 that Peake valorised as crucial to the between Peake and Dickens: similarities in anaphoric rhythm between ‘inner life’ of art. Rather, it was the ability to soar ‘off the ground’ in the roofscape scene in TG and the opening of BH;5 a resemblance order to ‘see them [presumably, the fruits of Peake’s imagination] face between shrivel, the shaving and hair-brushing dwarf of Mr to face’. Paradoxically, he wished to achieve this transcendence by way Slaughterboard, and Miss Mowcher, the dwarf hair stylist of David of the opposite gravitational movement, leaning ‘heavily and gladly Copperfield;6 and parallels between Peake’s and Dickens’s strategies for upon an archaic manner that I love,’ in which the Dickensian dimension character naming.7 Colin Manlove has gone so far as to claim that ‘in figured as a ‘dark and deathless rabble of long shadows.’ some degree the first two books of Peake’s trilogy are a re-creation of Dark and deathless shadows held a privileged place in Peake’s imagi- Bleak House’ (p.215). Duncan Fallowell has observed that Peake was nation. shadows are the elemental substance of Gormenghast, which ‘more stylistically in common with Dickens than with any of his British casts ‘shadows of time-eaten buttresses, of broken and loy turrets, and, contemporaries’ (p.1172), and Charles Gilbert has contended that ‘Peake most enormous of all, the shadow of the Tower of Flints’ (TG, p.15). himself loved Dickens and his writing seems to make the same imagina- Then there’s the ‘perfect shadow’ of the Twins’ tree, cast upon the wall tive bargain with the world’ (p.14). ‘as though engraved with superhuman skill’ (TG, p.137). and the infant a fuller analysis of Dickens’s influence on Peake seems to be in order, Titus is ‘suckled on shadows’ (G, p.7), of course. The shadows of Gor - for critics have by and large confined themselves to brief remarks on the men ghast are oen the most animated component of its mises-en-scène, subject. Here I examine parallels in their writing styles, artistic convic- as in the Countess’s room where ‘the missel-thrush made no motion’, tions, thematic explorations of class, and representations of the city, but ‘a ghoul of shadow from under a tall cupboard dislodged itself and while taking care not to elide the differences between them. In keeping moved across the floorboards, climbed the bed, and crawled half way with previous scholarship, I place more weight on BH than on Dickens’s across the eiderdown before it returned by the same route, to curl up and other novels, but branch out where a variety of example seems useful. I roost beneath the cupboard again’ (TG, p.57). also compare Peake with J. R. R. Tolkien, in order to further tease out Peake’s masterly interplay of motionless figures and dancing shadows the affiliations between Peake and Dickens by way of contrast with a has its antecedents in Dickens’s ‘dark and deathless rabble of long shad- third figure. Finally, I will suggest that Peake forged a vital link between ows’, to use Peake’s phrase, not least in BH where, on the decaying aris- Dickensian fiction and a new generation of urban fantasy authors. tocratic estate of Chesney Wold, ‘the frozen Dedlocks thaw. strange Peake’s address to the reader provides an illuminating point of depar- movements come upon their features, as the shadows of leaves play ture. By building an opposition between a ‘fresh approach to the art of there’ (p.593). some what like sepulchrave’s premonition in Gormen - writing’ and the extension of ‘technical frontiers’ on the one hand, and ghast’s dining hall that he ‘will be taken into the immemorial darkness the ‘archaic manner’ that he ascribed to Dickens and himself on the far away among the shadows of the Groans’ (TG, p.401), in Chesney other, Peake was working towards the formulation of his literary ethos. Wold ‘the shadow in the long drawing room upon my lady’s picture is He knew that his interest lay beyond formal experimentation for its own the first to come, the last to be disturbed. at this hour and by this light sake, a thought he expressed again in his introduction to Drawings: ‘a it changes into threatening hands raised up, menacing the handsome drawing may be brilliant in a dozen ways and yet be empty. It may be face with every breath that stirs’ (BH, p.594). outlandish, bizarre, and it would seem original, but its heart may be Peake’s BBC talk, ‘The artist’s World’ (AW), broadcast shortly aer 10 Peake STUDIES 14:ii Dark and Deathless Rabble 11 the publication of TG, extolled ‘the shadows, ah, the ancient shadows These observations support Gilbert’s suggestion that Peake and brooding in corners or under furniture, ominous, menacing, palpable’ Dickens were both imaginatively invested in an ‘art of surfaces’ (p.14). (p.6). These shadows were part and parcel of what Peake defined in AW Dickens scholars widely concur that the relations between surface and as the overall purpose of art, namely to reveal the beauty behind ‘the sur- depth, appearances and inner reality, were a source of endless fascina- faces of things’ (p.6). ‘as I see it, or as I want to see it, the marvels of the tion for him.9 Dickens excelled at reweaving the fabric of super ficial real- visible world are not things in themselves but revelations to stir the ity by configuring mundane objects and habitual behaviours into out - imagination’ (p.6) … to conduct us to amazing climates of the mind, rageously fantastical similes and metaphors, thus suffusing the which climates it is for the artist to translate into paint or into words’ presumably trivial with a heightened, almost superabundant, sense of (p.7).
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