Notes

Introduction 1. Paul Fussell, Abroad: British Literary Traveling between the Wars (New York: Oxford University Press, 1982), 11. 2. Azade Seyhan, Writing Outside the Nation (Princeton: Princeton Uni- versity Press, 2000), 4. 3. Salman Rushdie, Imaginary Homelands (New York: Penguin, 1992), 10. 4. Edward Said, “Reflections of Exile,” in Transatlantic Literary Studies: A Reader, ed. Susan Manning and Andrew Taylor (Baltimore: Johns Hop- kins University Press, 2007), 284. 5. Susan Manning and Andrew Taylor, eds. Transatlantic Literary Studies: A Reader (Baltimore: Johns Hopkins University Press, 2007), 283. 6. See, for example, Homi Bhabha, The Location of Culture (New York: Routledge, 1992); Michel de Certeau, The Writing of History (New York: Columbia University Press, 1988); Stephen Fender, Sea Changes: British Emigration and American Literature (Cambridge: Cambridge University Press, 1992); Paul Gilroy, Postmodern Melancholia (New York: Colum- bia University Press, 2006); Simon Gikandi, Maps of Englishness (New York: Columbia University Press, 1996); Stuart Hall, “Cultural Identity and Diaspora,” in Identity, Community, Culture, Difference, ed. Jonathan Rutherford (London: Lawrence and Wishart, 1990); Mary Louis Pratt, Imperial Eyes: Travel Writing and American Literature (Cambridge: Cam- bridge University Press, 1992); Werner Sollors, Beyond Ethnicity (New York: Oxford, 1986). 7. Said, 285. 8. Said, 286. 9. There have been numerous studies of the exile community in Hollywood and Los Angeles, but none focus only on the British novelists except Sheryl Gail Banks’s doctoral dissertation “Limeys in the Orange Grove: The British Novel in Los Angeles” (University of Southern California, 172 ● Notes

1986). Caroline See’s “The Hollywood Novel: An Historical and Criti- cal Study” (Diss., UCLA, 1963) does a thorough job of analyzing the Hollywood novel, both American and British. Christopher Ames’s article, “Shakespeare’s Grave: The British Fiction of Hollywood,” Twentieth Century Literature 47, no. 3 (Autumn 2001): 407– 30, is one of the first published studies that deals specifically with the British novel in Hollywood, but it does not deal with the other aspects of the British abroad in Southern California. For work about the exile community in general, see David Fine, Los Angeles in Fiction (Albuquerque: University of New Mexico Press, 1984); H. Mark Glancy, When Hollywood Loved Britain: The Hollywood “British” Film (Manchester: Manchester Univer- sity Press, 1999); Sheridan Morley, Tales from the Hollywood Raj: The British, the Movies, and Tinseltown (New York: Viking, 1983); Cornelius Schauber, German Speaking Artists in Hollywood (Bonn: Inter Nationes, 1996); Lionel Rolfe, In Search of Literary L.A. (Los Angeles: California Classics, 1991); John Russell Taylor, Strangers in Paradise: The Holly- wood Émigrés, 1933–1950 (New York: Holt, Rinehart, and Winston, 1983). 10. Manning and Taylor, 281. 11. Manning and Taylor, 282. The scholarly bibliography of travel writing is enormous, but some of the landmark studies are Percy Adams, Trav- elers and Liars, 1660–1800 (Berkeley: University of California Press, 1962); James Buzzard, The Beaten Track: European Tourism, Literature, and the Ways to “Culture” 1800– 1918 (Oxford: Oxford University Press, 1993); James Clifford, Routes: Travel and Translation in the Twentieth Century (Cambridge: Harvard University Press, 1997); Paul Fussell, Abroad: British Literary Traveling between the Wars (New York: Oxford University Press, 1980); Chris Rojek and James Urry, eds., Touring Cul- tures: Transformations of Travel and Theory (London: Routledge, 1997); William Stowe, Going Abroad in Nineteen-Century American Culture (Princeton: Princeton University Press, 1994). 12. Bertolt Brecht, “On Thinking about Hell,” trans. Nicholas Jacobs, in Poetry and Prose: Bertolt Brecht (London: Continuum, 2003), 100. 13. Brecht, 100. 14. Said, 287. 15. Said, 287. Notes ● 173

16. Theodor Adorno, Minima Moralia, trans. Dennis Redmond, part 1, section 18, http://www.marxists.org/reference/archive/adorno/1951/ mm/index.htm. 17. Adorno, part 1, section 18. 18. Said, 289.

Chapter 1 1. Evelyn Waugh, “Why Hollywood Is a Term of Disparagement,” in The Essays, Articles and Reviews of Evelyn Waugh, ed. Donat Gallagher (Bos- ton: Little, Brown, 1984), 325. 2. Waugh, “Why Hollywood Is a Term of Disparagement,” 325. 3. Carol Merril-Mirksy, ed., “Exiles in Paradise: Catalogue of the Exhibi- tion Exiles in Paradise at the Hollywood Bowl Museum” (Los Angeles: Los Angeles Philharmonic Association, 1991), 11. 4. Merril- Mirsky, “Exiles in Paradise,” 9. 5. Martin Stannard, Evelyn Waugh: No Abiding City, 1939– 1966 (London: J. M. Dent and Sons, 1992), 179. 6. Paul Fussell, Abroad: British Literary Traveling between the Wars (New York: Oxford University Press, 1980), 16. 7. Cyril Connolly, qtd. in Fussell, Abroad, 16. 8. Qtd. in Judith Adamson, Graham Greene and Cinema (Norman, OK: Pilgrim Books, 1984), 12. 9. Jed Esty, A Shrinking Island: Modernism and National Culture in England (Princeton: Princeton University Press, 2004), 8– 9. 10. Esty, 1. 11. Esty, 2–3. 12. David King Dunaway, Huxley in Hollywood (New York: Doubleday, 1989), 62. 13. Richard Fine, West of Eden: Writers in Hollywood (Washington: Smithso- nian Institute Press, 1993), 13– 14. 14. J. B. Priestley, Midnight on the Desert (London: Heinemann, 1940), 167. 15. Sheridan Morley, Tales from the Hollywood Raj: The British, the Movies, and Tinseltown (New York: Viking, 1983), 125. 16. Peter Parker, Isherwood: A Life (London: Picador, 2004), 451– 54. 17. Valerie Grove, Dear Dodie (London: Chatto and Windus, 1996), 126. 174 ● Notes

18. Dodie Smith, Look Back with Gratitude (London: Muller, Blond and White, 1985), 6. However, Smith wrote in her diary that she took $2,000 a week and was never able to make more than that in Hollywood. 19. Priestley, Midnight, 188. 20. Dunaway, 63. 21. Qtd. in Dunaway, 63. 22. P. G. Wodehouse, “The Nodder,” in Blandings Castle (New York: Over- look Press, 2002), 216. 23. P. G. Wodehouse, “The Juice of an Orange,” in Blandings Castle (New York: Overlook Press, 2002), 242. 24. Wodehouse, “Juice,” 242. 25. Wodehouse, “Juice,” 244. 26. Evelyn Waugh, The Diaries of Evelyn Waugh, ed. Michael Davie (Boston: Little, Brown, 1976), 418– 19. 27. Smith, 17. 28. Anthony Powell, To Keep the Ball Rolling: The Memoirs of Anthony Powell (Chicago: University of Chicago Press, 1976), 235. 29. Powell, To Keep the Ball Rolling, 236. 30. Powell, To Keep the Ball Rolling, 236. 31. Powell, To Keep the Ball Rolling, 252. 32. John Fowles, The Journals, Volume 1, ed. Charles Drazin (London: Jona- than Cape, 2003), 592. 33. P. G. Wodehouse, Laughing Gas (New York: Overlook Press, 1964), 139. 34. Wodehouse, Laughing Gas, 140. 35. Powell, 254. 36. Fowles, Journals, 591. 37. Priestley, Midnight, 183. 38. Fowles, Journals, 590. 39. Christopher Isherwood, Prater Violet (New York: Random House, 1945), 96. 40. Waugh, “Why Hollywood Is a Term of Disparagement,” 328. 41. Fowles, Journals, 594. 42. Gore Vidal, “Introduction,” in Where Joy Resides: A Christopher Isher- wood Reader, ed. James P. White and Don Bachardy (New York: Noon- day, 1989), ix. 43. Morley, 125. 44. Morley, 125. 45. Morley, 125. Notes ● 175

46. Morley, 86. 47. Powell, 237. 48. Wodehouse, “Juice,” 244. 49. Waugh, “Why Hollywood Is a Term of Disparagement,” 328. 50. Waugh, “Why Hollywood Is a Term of Disparagement,” 328. 51. Waugh, “Why Hollywood Is a Term of Disparagement,” 328. 52. Smith, 14. 53. Smith, 15. 54. Wodehouse, “The Nodder,” 228. 55. Waugh, “Why Hollywood Is a Term of Disparagement,” 329. 56. Evelyn Waugh, “The Man Hollywood Hates,” in The Essays, Articles, and Reviews of Evelyn Waugh, ed. Donat Gallagher (Boston: Little, Brown, 1984), 338. 57. Isherwood, Prater Violet, 67. 58. Powell, Messengers, 47. 59. Fowles, Journals, 589. 60. John Fowles, Daniel Martin (Boston: Little, Brown, 1977), 71. 61. Priestley, Midnight, 195. 62. Morley, 86.

Chapter 2 1. Qtd. in Sheridan Morley, Tales from the Hollywood Raj: The British, the Movies, and Tinseltown (New York: Viking, 1984), 9. 2. Sigmund Freud, “A Disturbance of Memory on the Acropolis,” in Char- acter and Culture, trans. by James Strachey (New York: W. W. Norton, 1963). 3. Paul Fussell, Abroad: British Literary Traveling between the Wars (New York: Oxford University Press, 1980), 16. 4. J. B. Priestley, Midnight on the Desert (London: Heinemann, 1940), 175. 5. Morley, 9. 6. Aldous Huxley, After Many a Summer Dies the Swan (New York: Harper and Row, 1939), 5. 7. Anthony Powell, Messengers of the Day (London: Heinemann, 1978), 49, 59. 8. Powell, Messengers, 59. 9. Evelyn Waugh, The Diaries of Evelyn Waugh, ed. Michael Davie (Boston: Little, Brown, 1976), 672. 176 ● Notes

10. John Fowles, unpublished personal account of his visit to Los Angeles in 1964. 11. John Fowles, The Journals, Volume I, ed. Charles Drazin (London: Jona- thon Cape, 2003), 564. 12. Fowles, Journals, 589– 90. 13. P. G. Wodehouse, Meet Mr. Mulliner (London: Herbert Jenkins, 1927), 95. 14. Huxley, 5–7. 15. Fowles, Journals, 589. 16. Christopher Isherwood, “Los Angeles,” in Horizon, Special Issue: Art on the American Horizon, ed. Cyril Connolly, October, 1947, 142. 17. Isherwood, “Los Angeles,” 142. 18. Dodie Smith, Look Back with Gratitude (London: Muller, Blond and White, 1985), 5. 19. Qtd. in David King Dunaway, Huxley in Hollywood (New York: Dou- bleday, 1989), 62– 63. 20. Lionel Rolfe, In Search of Literary L.A. (Los Angeles: California Classics, 1991), 91– 92. 21. Richard Cross, Malcolm Lowry: A Preface to His Fiction (Chicago: Uni- versity of Chicago Press, 1980), 123. 22. Fowles, Journals, 590. 23. Valerie Grove, Dear Dodie (London: Chatto and Windus, 1996), 161. 24. Grove, 127. 25. Priestley, Midnight, 182. 26. Wodehouse, “The Castaways,” in Blandings Castle (New York: Over- look Press, 2002), 280. 27. Wodehouse, “Castaways,” 284. 28. Qtd. in Morley, 86. 29. Powell, Messengers, 54. 30. Smith, 5. 31. Christopher Isherwood, Diaries, Volume 1: 1939–1960 , ed. Katherine Bucknell (New York: Harper, 1996), 32. 32. Smith, 16. 33. Grove, 129. 34. Wodehouse, “Monkey Business,” in Blandings Castle (New York: Over- look Press, 2002), 205. 35. Isherwood, “Los Angeles,” 143. Notes ● 177

36. Christopher Isherwood, The World in the Evening (New York: Avon, 1952), 9. 37. Dunaway, 107. 38. Huxley, 9. 39. John Russell Taylor, Strangers in Paradise: The Hollywood Émigrés, 1933 – 1950 (New York: Holt, Rinehart and Winston, 1983), 33. 40. Taylor, 33–34. 41. Huxley, 7. 42. Isherwood, “Los Angeles,” 143. 43. Isherwood, “Los Angeles,” 142. 44. Isherwood, “Los Angeles,” 143. 45. Priestley, Midnight, 175– 76. 46. Isherwood, “Los Angeles,” 144. 47. Isherwood, “Los Angeles,” 144. 48. Isherwood, “Los Angeles,” 144. 49. Brendan Bernhard, “Coming to America: Isherwood and Auden in the New World,” The LA Weekly, February 21– 27, 1997, 21. 50. Bernhard, 21. 51. Bernhard, 21. 52. Christopher Isherwood, A Single Man (New York: Avon, 1964), 90. 53. Bernhard, 21. 54. Evelyn Waugh, “Why Hollywood Is a Term of Disparagement,” in The Essays, Articles and Reviews of Evelyn Waugh, ed. Donat Gallagher (Bos- ton: Little, Brown, 1984), 326. 55. Priestley, Midnight, 176. 56. Bernhard, 23. 57. Bernhard, 23. 58. P. G. Wodehouse, “The Nodder,” in Blandings Castle (New York: Over- look Press, 2002), 219. 59. Qtd. in Dunaway, 41. 60. Fussell, Abroad, 158. 61. Priestley, Midnight, 2– 3. 62. Dunaway, 49. 63. Dunaway, 49. 64. Qtd. in Dunaway, 167. 65. Dunaway, 166. 66. Powell, Messengers, 59. 67. Isherwood, “Los Angeles,” 147. 178 ● Notes

68. Dodie Smith to Christopher Isherwood, June 17, 1954, from the Hun- tington Library Collection. 69. Qtd. in Dunaway, 49. 70. Dunaway, 108. 71. Christopher Isherwood, Kathleen and Christopher: Christopher Isher- wood’s Letters to His Mother, ed. Lisa Colletta (Minneapolis: University of Minnesota Press, 2005), 136. 72. Isherwood, Kathleen and Christopher, 160. 73. Dunaway, 109. 74. Isherwood, Diaries, 65. 75. Isherwood, The World in the Evening, 14. 76. Waugh, Diaries, 672. 77. Waugh, “Why Hollywood Is a Term of Disparagement,” 327. 78. Qtd. in Martin Stannard, Evelyn Waugh: No Abiding City, 1939–1966 (London: J. M. Dent and Sons, 1992), 188. 79. Waugh, “Why Hollywood Is a Term of Disparagement,” 331. 80. Fowles, Journals, 589. 81. Waugh, Diaries, 675. 82. Grove, 127. 83. Grove, 127. 84. Grove, 126. 85. Grove, 126. 86. Waugh, Essays, Articles, and Reviews, 331. 87. Dunaway, 218. 88. Dunaway, 219. 89. Waugh, “Half in Love with Easeful Death,” in The Essays, Articles, and Reviews of Evelyn Waugh, ed. Donat Gallagher (Boston: Little, Brown, 1984), 331. 90. Nancy Updike, “How I Made Peace with that Glazed Summer Feeling,” The Los Angeles Times, May 23, 2003, 4. 91. Updike, 4. 92. Isherwood, “Los Angeles,” 144. 93. Isherwood, Kathleen and Christopher, 136. 94. Isherwood, “Los Angeles,” 143.

Chapter 3 1. Evelyn Waugh, The Diaries of Evelyn Waugh, ed. Michael Davie (Boston: Little, Brown, 1976), 675. Notes ● 179

2. Waugh, Diaries, 675. 3. Evelyn Waugh, The Essays, Articles, and Reviews of Evelyn Waugh, ed. Donat Gallagher (Boston: Little, Brown, 1984), 337. 4. Ralph Hancock, The Forest Lawn Story (Los Angeles: Academy Pub- lishers, 1955), 12. 5. Hancock, 17. 6. Hancock, 17. 7. Hancock, 11. 8. Hancock, 18. 9. Hancock, 15–16. 10. Elliot Orring, “Forest Lawn and the Iconography of American Death,” Southwest Folklore 6, no. 1 (1982): 62– 72, 63. 11. Orring, 64. 12. Hancock, 17. 13. Hancock, 17. 14. Hancock, 14. 15. For an excellent comparison of The Art Guide to Waugh’s The Loved One, see James J. Lynch, “The Loved One and The Art Guide of Forest Lawn,” The Evelyn Waugh Newsletter 17, no. 3 (Winter 1983). 16. Hancock, 17. 17. Hancock, 35. 18. Evelyn Waugh, The Loved One (Boston: Little, Brown, 1948), 39. 19. Waugh, Loved One, 39. 20. Waugh, Loved One, 53. 21. Aldous Huxley, After Many a Summer Dies the Swan (New York: Harper and Row, 1939), 158. 22. P. G. Wodehouse, “The Castaways,” in Blandings Castle (New York: Overlook Press, 2002), 282. 23. Christopher Ames, “Shakespeare’s Grave: The British Fiction of Holly- wood,” Twentieth Century Literature 47, no. 3 (Autumn 2001): 407–30, 412. 24. Laura Mulvey, Citizen Kane (London: BFI Film Classics, 1992), 72. 25. Lynch, “The Loved One and The Art Guide of Forest Lawn,” 2. 26. Umberto Eco, Travels in Hyper Reality: Essays, trans. William Weaver (San Diego: Harcourt, 1983), 7. 27. Eco, 19. 28. Waugh, Essays, Articles, and Reviews, 336. 29. Waugh, Essays, Articles, and Reviews, 336. 180 ● Notes

30. Qtd. in Selina Hastings, Evelyn Waugh: A Biography (Boston: Houghton Mifflin, 1994), 517. 31. Laura Kath, Forest Lawn: The First 100 Years (Los Angeles: Tropico Press, 2006), 35, 39, 42. 32. Huxley, 13. 33. Huxley, 9. 34. Huxley, 10. 35. Waugh, Loved One, 30. 36. Waugh, Loved One, 38. 37. Huxley, 13. 38. Huxley, 24. 39. Frederic Jameson, “Postmodernism and Consumer Society,” in The Anti- Aesthetic, ed. Hal Foster (New York: New Press, 1998), 132. 40. Jameson, 132. 41. Huxley, 31. 42. Karal Ann Marling, “Disneyland, 1955: Just Take the Santa Ana Free- way to the American Dream,” in American Art 5, no. 1/2 (Winter– Spring 1991): 168– 207, 187. 43. Christopher Isherwood, “Los Angeles,” in Horizon, Special Issue: Art on the American Horizon, ed. Cyril Connolly, October, 1947, 146. 44. Waugh, Essays, Articles, and Reviews, 335. 45. Waugh, Loved One, 91. 46. Waugh, Loved One, 11. 47. Waugh, Loved One, 12. 48. Sheridan Morley, Tales from the Hollywood Raj: The British, the Movies, and Tinseltown (New York: Viking, 1983), 177. 49. Eco, 37–38. 50. Hastings, 517. 51. Waugh, Loved One, 78. 52. Waugh, Loved One, 79. 53. Waugh, Loved One, 163. 54. Huxley, 56, 48. 55. Huxley, 48. 56. Huxley, 56. 57. Huxley, 56–57. 58. Waugh, Loved One, 5. 59. Huxley, 222. 60. Waugh, Loved One, 57, 147. Notes ● 181

61. Waugh, Loved One, 163. 62. For an insightful and thorough discussion of themes of both novels, see James Lynch, “Tennyson’s ‘Tithonus,’ Huxley’s ‘After Many a Sum- mer,’ and Waugh’s ‘The Loved One,’” in South Atlantic Review 51, no. 4 (November 1986): 31– 47. 63. Lynch, “Tennyson’s,” 45. 64. Waugh, Loved One, 7. 65. Waugh, Loved One, 8. 66. Waugh, Loved One, 8. 67. Waugh, Loved One, 8– 9. 68. Waugh, Loved One, 25. 69. Guy Debord, The Society of the Spectacle (New York: Zone Books, 1995), 38. 70. Debord, 39. 71. Isherwood, “Los Angeles,” 146. 72. Debord, 15. 73. Don was Isherwood’s lifelong partner. He made this remark in a conver- sation we had about Isherwood’s reaction to Forest Lawn and what he would have made of the Hollywood Forever Cemetery. 74. Chris Lee, “Graveyard Shift,” The Los Angeles Times, May 17, 2007, part E, 26. 75. Lee, 26. 76. Lee, 26. 77. Lee, 26. 78. The Hollywood Forever Cemetery Official Directory (Los Angeles: blu- Monk International), 5. 79. Hollywood Forever, 5.

Chapter 4 1. Christopher Ames, “Shakespeare’s Grave: The British Fiction of Holly- wood,” Twentieth Century Literature 47, no. 3 (Autumn 2001): 407–30, 412. 2. Sheridan Morley, Tales from the Hollywood Raj: The British, the Movies, and Tinseltown (New York: Viking, 1983), 7. 3. Faye Hammill, Women, Celebrity, and Literary Culture between the Wars (Austin: University of Texas Press, 2007), 17. 4. Hammill, 17. 182 ● Notes

5. Richard Schickel, Intimate Strangers: The Culture of Celebrity in America (New York: Ivan R. Dee, 2000), 212. 6. Leo Braudy, The Frenzy of Renown (New York: Vintage, 1986), 6. 7. Aaron Jaffe, Modernism and the Culture of Celebrity (Cambridge: Cam- bridge University Press, 2005), 90– 91. 8. Braudy, 4. 9. Braudy, 6. 10. Evelyn Waugh, The Loved One (Boston: Little, Brown, 1948), 42. 11. Waugh, Loved One, 54. 12. J. B. Priestley, Midnight on the Desert (London: Heinemann, 1940), 120. 13. Priestley, Midnight, 113. 14. Waugh, Loved One, 54. 15. David King Dunaway, Huxley in Hollywood (New York: Doubleday, 1989), 176. 16. Braudy, 4. 17. Priestley, Midnight, 175. 18. P. G. Wodehouse, Laughing Gas (New York: Overlook Press, 1964), 75. 19. P. G. Wodehouse, “The Rise of Minna Nordstrom,” in Blandings Castle (New York: Overlook Press, 2002), 259. 20. Wodehouse, “Minna Nordstrom,” 261. 21. Priestley, Midnight, 170. 22. Priestley, Midnight, 179. 23. Braudy, 6. 24. P. G. Wodehouse, “The Nodder,” in Blandings Castle (New York: Over- look Press, 2002), 223. 25. Wodehouse, Laughing Gas, 170. 26. Wodehouse, Laughing Gas, 171. 27. Wodehouse, Laughing Gas, 171. 28. Wodehouse, Laughing Gas, 70– 71. 29. Wodehouse, “Monkey Business,” in Blandings Castle (New York: Over- look Press, 2002), 210. 30. Priestley, Midnight, 180. 31. Braudy, 4–5. 32. Hammill, 13. 33. Hammill, 3. 34. Priestley, Midnight, 178. Notes ● 183

35. Jonathan E. Schroeder, “Consuming Representation: A Visual Approach to Consumer Research,” in Representing Consumers: Voices, Views and Visions, ed. Barbara B. Stern (London: Routledge, 1998), 208. 36. Laura Mulvey, “Visual Pleasure and Narrative Cinema,” in The Sexual Subject: A Screen Reader in Sexuality, ed. John Caughie, Annette Kuhn, and Mandy Merck (London: Routledge, 1992), 28. 37. Evelyn Waugh, The Essays, Articles, and Reviews of Evelyn Waugh, ed. Donat Gallagher (Boston: Little, Brown, 1984), 326. 38. Waugh, Essays, Articles, and Reviews, 326– 27. 39. Dunaway, 106. 40. Aldous Huxley, After Many a Summer Dies the Swan (New York: Harper and Row, 1939), 35. 41. Huxley, 38. 42. Huxley, 37. 43. Huxley, 36. 44. Huxley, 36. 45. Wodehouse, Laughing Gas, 49. 46. Wodehouse, Laughing Gas, 46. 47. Wodehouse, Laughing Gas, 217. 48. Wodehouse, Laughing Gas, 217. 49. Wodehouse, Laughing Gas, 217– 18. 50. In addition to Leo Braudy’s landmark study, The Frenzy of Renown, see also Daniel J. Boorstin, The Image: A Guide to Pseudo-Events in American Culture (New York; Harper and Row, 1961); Guy Debord, The Society of the Spectacle (New York: Zone Books, 1995); Joshua Gamson, Claims to Fame: Celebrity in Contemporary America (Berkeley: University of Cali- fornia Press, 1994); Clive James, The Meaning of Recognition (London: Picador, 2005); James Monaco, Celebrity (New York: Delta, 1978). 51. P. G. Wodehouse, “The Juice of an Orange,” in Blandings Castle (New York: Overlook Press, 2002), 253. 52. Wodehouse, “Minna Nordstrom,” 269. 53. Wodehouse, “Minna Nordstrom,” 277– 78. 54. Priestley, Midnight, 177– 78. 55. Waugh, Essays, Articles, and Reviews, 327. 56. Wodehouse, “Minna Nordstrom,” 257. 57. Huxley, 56. 58. Wodehouse, Laughing Gas, 58– 59. 59. Wodehouse, Laughing Gas, 118. 184 ● Notes

60. Fred Guiles, Hanging On in Paradise (New York: McGraw-Hill, 1975), 17– 18. 61. Waugh, Essays, Articles, and Reviews, 337. 62. Apparently, the audience was bored and restless. See Morley, 35, for a detailed description of this event. 63. J. B. Priestley, Margin Released (New York: Harper and Row, 1962), 216. 64. Priestley, Margin Released, 216. 65. Fred Karno was a theatre impresario of the English music hall days. He “discovered” both Charlie Chaplin and Stan Laurel. It was on a tour of America with Karno’s Wow-Wows that Chaplin first visited Los Ange- les. In New York, Mack Sennett, who was working for D. W. Griffiths at the time, saw the show and was instrumental in bringing Chaplin out to Hollywood under contract to Keystone films. 66. Priestley, Midnight, 194– 95. 67. See Jed Esty, A Shrinking Island: Modernism and National Culture in England (Princeton: Princeton University Press, 2004), 13. 68. Priestley, Midnight, 195. 69. Priestley, Midnight, 195– 96. 70. Dunaway, 105. 71. Morley, 125. 72. Both Walpole and Wodehouse quoted in Dunaway, 81. 73. Anthony Powell, To Keep the Ball Rolling: The Memoirs of Anthony Powell (Chicago: University of Chicago Press, 1976), 245. 74. Powell, To Keep the Ball Rolling, 248. 75. Powell, To Keep the Ball Rolling, 254, 250. 76. Christopher Isherwood, Diaries, Volume 1: 1939–1960 , ed. Katherine Bucknell (New York: Harper, 1996), 56. 77. Christopher Isherwood, Kathleen and Christopher: Christopher Isher- wood’s Letters to His Mother, ed. Lisa Colletta (Minneapolis: University of Minnesota Press, 2005), 157. 78. Isherwood, Diaries, 49– 51. 79. Isherwood, Diaries, 51. 80. Isherwood, Diaries, 68. 81. Braudy, 570. 82. Isherwood, Diaries, 68. 83. Isherwood, Diaries, 68. 84. Braudy, 579. Notes ● 185

85. Morley, 123. 86. John Fowles, The Journals, Volume I, ed. Charles Drazin (London: Jona- thon Cape, 2003), 590. 87. James, 357.

Chapter 5 1. See Christopher Ames, “Shakespeare’s Grave: The British Fiction of Hollywood,” Twentieth Century Literature 47, no. 3 (Autumn 2001): 407–30; and David Fine, Los Angeles in Fiction (Albuquerque: Univer- sity of New Mexico Press, 1984). 2. Zygmunt Bauman, Identity: Conversations with Benedetto Vecchi (Mal- den, MA: Polity Press, 2004), 11. 3. Bauman, 13. 4. Bauman, 12–13. 5. Bauman, 31. 6. Ian Baucom, Out of Place: Englishness, Empire, and the Locations of Iden- tity (Princeton: Princeton University Press, 1999); and Simon Gikandi, Maps of Englishness: Writing Identity within the Culture of Colonialism (New York: Columbia University Press, 1996). 7. Susan Manning and Andrew Taylor, eds. Transatlantic Literary Studies: A Reader (Baltimore: Johns Hopkins University Press, 2007), 18. 8. Jed Esty, A Shrinking Island: Modernism and National Culture in England (Princeton: Princeton University Press, 2004), 7. 9. Esty, 9. 10. Ames, 409. 11. Ames, 410. 12. J. B. Priestley, Midnight on the Desert (London: Heinemann, 1940), 174. 13. Priestley, Midnight, 174. 14. John Fowles, Daniel Martin (Boston: Little, Brown, 1977), 235. 15. Fowles, Daniel Martin, 235. 16. Dodie Smith, Look Back with Gratitude (London: Muller, Blond and White, 1985), 6. 17. Smith, 17. 18. Neal Gabler, An Empire of Their Own: How the Jews Invented Hollywood (New York: Doubleday, 1988), 325. 19. Gabler, 325. 20. Ames, 411. 21. Angela Carter, Wise Children (New York: Penguin, 1991), 148. 186 ● Notes

22. Frederic Jameson, “Postmodernism and Consumer Society,” in The Anti- Aesthetic, ed. Hal Foster (New York: New Press, 1998), 132. 23. William Butler Yeats, “Sailing to Byzantium,” in The Collected Poems of W.B. Yeats (New York: Macmillan, 1959), 102; T. S. Eliot, “The Waste- land,” in Selected Poetry of T.S. Eliot, ed. Frank Kermode (New York: Harcourt, 1975), 38. 24. Jameson, 131. 25. Evelyn Waugh, The Loved One (Boston: Little, Brown, 1948), 4. 26. P. G. Wodehouse, The Old Reliable. Five Complete Novels (New York: Avenel Books, 1983), 559, 566. 27. Waugh, Loved One, 4. 28. Waugh, Loved One, 4– 5. 29. Waugh, Loved One, 11. I Zingari was an English amateur cricket club founded in 1845. 30. Waugh, Loved One, 11. 31. Waugh, Loved One, 10. 32. Waugh, Loved One, 13– 14. 33. Waugh, Loved One, 14. 34. Waugh, Loved One, 105. 35. Waugh, Loved One, 105– 6. 36. Waugh, Loved One, 106. 37. Waugh, Loved One, 17. 38. Northrop Frye, Anatomy of Criticism (New York: Atheneum, 1969), 98. 39. Waugh, Loved One, 17, 53. 40. Priestley, Midnight, 180– 81. 41. Waugh, Loved One, 121. 42. See my work on this subject: Lisa Colletta, Dark Humor and Social Sat- ire in the Modern British Novel (New York: Palgrave Macmillan, 2003). 43. Wodehouse, The Old Reliable, 564. 44. Ames, 421. 45. P. G. Wodehouse, The Plot That Thickened (New York: Simon and Schuster, 1973), 109. 46. P. G. Wodehouse, “The Juice of an Orange,” in Blandings Castle (New York: Overlook Press, 2002), 249. 47. Wodehouse, The Old Reliable, 636. 48. Wodehouse, The Old Reliable, 637. 49. P. G. Wodehouse, “Came the Dawn,” in Meet Mr. Mulliner (London: Herbert Jenkins, 1927), 78. Notes ● 187

50. Wodehouse, The Old Reliable, 588. 51. P. G. Wodehouse, “The Nodder,” in Blandings Castle (New York: Over- look Press, 2002), 232. 52. Ames, 421. 53. Ames, 422. 54. Ames, 422. 55. Wodehouse, The Old Reliable, 651, 653. 56. P. G. Wodehouse, The Luck of the Bodkins (Boston: Little, Brown, 1936), 125. 57. Henri Bergson, Laughter: An Essay on the Meaning of the Comic, trans. Cloudesley Brerton and Fred Rothwell (Los Angeles: Green Integer 14, 1999), 73. 58. See also Sheryl Gail Banks, “Limeys in the Orange Grove: The British Novel in Los Angeles” (Diss., University of Southern California, 1986); and Caroline See, “The Hollywood Novel: An Historical and Critical Study” (Diss., UCLA, 1963). 59. Waugh, Loved One, 17. 60. Wodehouse, Bodkins, 124. 61. Wodehouse, Bodkins, 142. 62. Ames, 423–24. 63. Wodehouse, “Monkey Business,” in Blandings Castle (New York: Over- look Press, 2002), 209. 64. Aldous Huxley, After Many a Summer Dies the Swan (New York: Harper and Row, 1939), 146. 65. Huxley, 241. 66. Huxley, 118. 67. Huxley, 118–19. 68. Fowles, Daniel Martin, 35. 69. Christopher Isherwood, “Los Angeles,” in Horizon, Special Issue: Art on the American Horizon, ed. Cyril Connolly, October, 1947, 142– 47. 70. Christopher Isherwood, A Single Man (New York: Avon, 1964), 63. 71. Peter Conrad, Imagining America (New York: Oxford University Press, 1980), 309. 72. Isherwood, A Single Man, 68– 69. 73. Isherwood, A Single Man, 69. 74. Huxley, 218. 75. Waugh, Loved One, 163– 64. Bibliography

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Adorno, Theodor Benstead, Luella, 23 experience of Hollywood, 9 Bernhard, Bernard, 60– 61 fascism, escape from, 16 Between the Acts (Woolf), 20 Minima Moralia: Reflections on a Beverly Hills, 54– 55 Damaged Life, 11 Bluemel, Kristin, 141 After Many a Summer Dies the Swan Boggs, Francis, 45 (Huxley), 64 Boorstin, Daniel J., 118 characters, described, 56– 57, 67, Braudy, Leo, 105– 6, 118, 135 115– 16, 121, 168 Brecht, Bertold, 9– 10, 16 debasement of modern world, 153, British Empire, effect of breakup of, 154 19– 20 in fiction, 166– 67 Forest Lawn as inspiration for, 81, Captions Courageous (Walpole), 33 83– 97 Carter, Angela, 147, 169 plot, described, 104 “The Castaways” (Wodehouse), 53, protagonists, description of, 39– 40 81, 155 on society based on spectacle, 36–37 celebrity, nature of, 13, 103– 38 sunshine, description of, 48 identity and, 108– 10, 123, 128 on supersized nature of California, cemeteries 50 Forever Cemetery, 103 Tennyson, Alfred in, 161– 65 See also Forest Lawn, British Afternoon Men (Powell), 34 fascination with Americans, perception of, 19, 24– 25, Chaplin, Charlie, 124– 27, 130– 31 29 first impression of Hollywood, 48 Ames, Christopher, 82, 139, 146– 47, first visit to Los Angeles, 184n65 156, 158, 161 individuality of, 107 Ape and Essence (Huxley), 64, 71, 104 “The Man Hollywood Hates” Art Guide, 79 (Waugh), 38– 39, 124 Auden, W. H., 17, 62 Monsieur Verdoux, 39 Pay Day, 126– 27 Bachardy, Don, 99 Chevalier, Maurice, 30 Barlow, Dennis, 137 Citizen Kane (film), 82 Bartholomew, Freddie, 129 climate of Hollywood, 45– 47 Baucom, Ian, 141 The Collector (Fowles), 30, 136– 37 Bauman, Zygmunt, 140 Colman, Ronald, 29, 128 Beesly, Alec, 17, 51, 54– 55 comic literary allusion, 155– 56 196 ● Index

Conrad, Peter, 167 fascism, escape from, 9– 11, 16 The Count of Monte Cristo (Boggs), 45 fetishism, 82 Coward, Noel, 145– 46 fiction, how experiences put into, 13, Cross, John, 52 139– 70 American Dream, 143 “dachshund effect,” 17 comic literary allusion, 155– 56 A Dance to the Music of Time (Powell), common elements of genre, 143 42– 43 debasement of modern world, 153, Daniel Martin (Fowles), 144, 166, 169 154 Dark as the Grave (Lowry), 52 “home,” as return to England, David (Michelangelo), 84 140– 41 Davies, Marion, 100, 128 joke- work, 154 da Vinci, Leonardo, 85 loss of self in, 160 De Acosta, Mercedes, 131– 32 satire, generally, 148 debasement of modern world, 153, Fine, David, 139 154, 166 Fine, Richard, 22 Debord, Guy, 98– 99, 118 Fitzgerald, F. Scott, 129– 30 Decline and Fall (Waugh), 97 Powell, Anthony, conversation with, DeMille, Cecil B., 45, 100 29 Dickens, Charles, 8 A Yank at Oxford (film), 28 Dietrich, Marlene, 30 Forest Lawn, British fascination with, DuBuffet, Jean, 150 13, 75– 101, 148 Dunaway, David King, 24, 67, 71, Disneyland aesthetic, as forerunner 127, 131 of, 84– 85 Forever LifeStories, 101 Eaton, Hubert, 76– 79, 82 names of sections, 99– 100 Eco, Umberto, 82, 93 See also Huxley, Aldous; Waugh, Eggar, Samantha, 136 Evelyn “Elegy in a Country Churchyard” Forest Lawn, The First 100 Years, 79 (Grey), 82 The Forest Lawn Story, 75– 80 Eliot, T. S., 145, 148, 157 Forever Cemetery, 103 The Waste Land, 20, 159 Forever LifeStories, 101 Ends and Means (Huxley), 64 Forster, E. M., 20 English identity, 21 Fowles, John Englishness, 20– 21, 24, 40, 107 on celebrity, 114 Esty, Jed, 19– 20, 126, 141, 142 on climate, 69 exiles The Collector, 30, 136– 37 experiences in studios (see studios Daniel Martin, 144, 166, 169 [Hollywood], experiences of first impressions of Los Angeles, employment in) 49– 52 fascism, escape from, 16– 17 generally, 12 overview, 2– 12 on images, 35 on language problem, 28– 29 Facebook, 106, 137 on optimism, 144 Fairbanks, Douglas, 100, 125, 127, on Prater Violet (Isherwood), 31– 32 129 on success, 40 Index ● 197

Freud, Sigmund, 47, 154 friends of, 127– 28, 130 Frye, Northrup, 153 on Hollywood generally, 62– 65 Fussell, Paul, 1– 2, 63 on identity, 123 on images, 35 Gabler, Neal, 146 Jane Eyre, 25 Garbo, Greta, 130– 35 Jesting Pilate, 65 Gikandi, Simon, 141 national tradition and, 6 globalization, effect of, 1 pacifism of, 17 Goddard, Paulette, 128 payments to, 22– 23 Goldwyn, Samuel, 70 personality characteristics, 40 Grand Tour, 7– 8 personal reasons for going to Gravers, Robert, 167 Hollywood, 18 Greene, Graham, 19 Pride and Prejudice (film), 25 Grey, Thomas, 78, 82 reinvention of self, 67– 68 view of others, 66 “Half in Love with Easeful Death” Huxley, Maria, 24, 130– 32 (Waugh), 70– 71 hybrid identity, 7 Hamlet (Shakespeare), 101 hyperreality, 82 Hammill, Faye, 104– 5, 113 Harding, Ann, 136 I Capture the Castle (Smith), 42 Hardwicke, Cedric, 126 identity Harlow, Jean, 130 celebrity and, 108– 10, 123, 128 Hawthorne, Nathaniel, 8 English identity, 21 Heard, George, 131 hybrid, 7 Heard, Gerald, 17, 66 national, 21, 140– 42 Hearst, William Randolph, 128, 164 personal, 140, 148, 161 Hemans, Felicia, 163 Intermodernism: Literary Culture in Hemingway, Ernest, 129– 30 Mid- Twentieth Century Britain Hepburn, Katharine, 136 (Bluemel), 141 Hiefitz, Jascha, 16 Isherwood, Christopher Hold Everything (musical), 158 on culture of Los Angeles, 59– 62 home on debasement of modern world, past as, 9 166 as return to England, 140– 41 on downtown Los Angeles, 58 Horizon (Isherwood), 66, 73 first impressions of Los Angeles, 51 Horowitz, Vladimir, 16 on Forest Lawn, 89– 90, 97 Houseman, A. E., 152 friends of, 130 Hubble, Edwin and Grace, 130 Garbo, Greta, and, 133– 34 Hume, Benita, 128 Horizon, 66, 73 Huston, John, 100, 101 life in California, 168 Huxley, Aldous on loss of stability, 5 After Many a Summer Dies the Swan national tradition and, 6 (see After Many a Summer Dies pacifism of, 17 the Swan [Huxley]) payments to, 22 Ape and Essence, 64, 71, 104 personal reasons for going to Ends and Means, 64 Hollywood, 18 198 ● Index

Isherwood, Christopher (continued ) lifestyles, 23– 24 Prater Violet, 26, 31– 32, 39 Logan, Stanley and Odette, 129 reinvention of self, 67– 68 Look Back with Gratitude (Smith), 23 A Single Man, 61, 153, 166– 69 Loos, Anita, 123– 24, 128, 130, 132 Smith, Dodie, correspondence, 67 Lorre, Peter, 100 The World in the Evening, 55– 56, Los Angeles 68, 153 emptiness, impression of, 57– 58 growth of, 56– 57 Jaffe, Aaron, 105– 6 Los Angeles Times, 72– 73, 100 James, Clive, 118, 137 The Loved One (Waugh), 106– 7 James, Henry, 8, 154 celebrity and, 104 Jameson, Frederic, 148, 149 characters and plot, discussion of, Jane Eyre, 25 121, 149– 52, 159, 160 Jesting Pilate (Huxley), 65 Forest Lawn as inspiration for, 75, joke- work, 154 80, 83– 99 Joyce, James, 145, 157 main theme of, 21 “The Juice of an Orange” (Wodehouse) original British colony in, 24 celebrity and, 118– 19 protagonists, description of, 39– 40 on “nodder” position, 25 Lovelies from America (film), 26 plot of, 23 Lovelies over London (film), 26 quotes from, 35 Lowry, Malcolm, 18, 52 The Luck of the Bodkins (Wodehouse), Karno, Fred, 126, 184n65 160, 162– 63 Karno Sketches, 125 Lynch, James, 82 Keats, John, 159 Kipling, Rudyard, 78 “The Man Hollywood Hates” Klemperer, Otto, 16 (Waugh), 38– 39, 124 Korda, Alexander, 26 Mann, Heinrich, 16 Korngold, Eric Wolfgang, 16 Mann, Thomas, 16 Krishnamurti, 66, 130, 132 Manning, Susan, 4, 7, 142 Mansfield, Jayne, 100 Lady Seated at a Virginal (Vermeer), 88 Marling, Karal Ann, 88 landscape. See Southern California, Marx, Groucho, 125 British responses to topography Mayan Theater, 54 language problem, 28– 29 Mayer, Louis B., 69 Last Supper (da Vinci), 85 Mediterranean, climate of, 45– 46 Late Modernism: Politics, Fiction, and Meet Mr. Mulliner (Wodehouse), 50 the Arts Between the Wars (Miller), Merrill- Mirsky, Carol, 16– 17 141 “messenger boys,” film on, 27 Laughing Gas (Wodehouse) Metro- Goldwyn- Mayer (MGM) celebrities and, 104, 109, 111– 12, experiences of employment in, 26– 116– 18 29, 32– 33, 37– 38 character and plot described, 121– scenery and, 48 23, 156, 160, 169 Michelangelo, 84 mocking of American fascination Midnight on the Desert (Priestly), 59, with English culture, 29 108– 9, 126– 27 protagonists, description of, 39– 40 Miller, Tyrone, 141 Index ● 199

Minima Moralia: Reflections on a on unwelcoming nature of Damaged Life (Adorno), 11 Hollywood, 48– 49 “Monkey Business” (Wodehouse), 23, A Yank at Oxford (film), 28 55, 112, 163 Power, Tyrone, 100 Monsieur Verdoux (Chaplin), 39 Prabhavananda, Swami, 66 Morley, Sheridan, 92– 93, 135 Prater Violet (Isherwood), 26, 31– 32, Mulvey, Laura, 82, 114 39 prayer, connection to poetry, 162 naiveté, American, 8 preservation, idea of, 82– 83 national identity, 21, 140– 42 Pride and Prejudice (film), 25 national tradition, 6 Priestley, J. B. Nazis, 17 on authenticity, 48 Niven, David, 93 on celebrities, 112– 14, 120 “The Nodder” (Wodehouse), 25, 111, Chaplin, Charlie, and, 125– 26 159 on consumption of glamour, 35 on glamour, 153– 54 Old Reliable (Wodehouse), 155– 56, impressions of Los Angeles, 51– 53 158– 59 on individuality, 107 “On Thinking about Hell” (Brecht), on influence of Hollywood on 10 America, 144 Oring, Elliot, 78 lifestyle, 23– 24 Midnight on the Desert, 59, 108– 9, pacifism, 17 126– 27 Pay Day (Chaplin), 126– 27 movies, reasons for attending, payments to novelists, 22– 23 110– 11 personal identity, 140, 148, 161 payments to, 22 Peters, A. D., 84 on remoteness of Hollywood, 62– 63 Picasso, Pablo, 150 on Southern California, 58– 59 Pickford, Mary, 54, 125 on talented persons, 30– 31 The Plot that Thickened (Wodehouse), Prohibition, 49 156– 57 poetry, connection to prayer, 162 Rachmaninoff, Sergei, 16 Pound, Ezra, 145 “Reflections on Exile” (Said), 3– 4, Powell, Anthony, 6 6– 8, 10 Afternoon Men, 34 Reinhardt, Max, 16 A Dance to the Music of Time, 42– 43 “The Rise of Minna Nordstrom” film scenarios, working on, 26 (Wodehouse), 109– 10, 120– 21 Fitzgerald, F. Scott, conversation Robinson Crusoe, 155 with, 29 Rushdie, Salman, 2 home of, 66 Russell, Bertrand, 130, 132 on images, 35 “messenger boys,” film on, 27 Said, Edward, 3– 4, 6– 8, 10 personal reasons for going to satire, 148 Hollywood, 18 Saturday Evening Post, 53 social life of, 128– 29 Schickel, Richard, 105 on Spanish Earth (Hemingway), Schoenberg, Arnold, 16 129– 30 Schroeder, Jonathan, 113 200 ● Index

Scott, Walter, 78 Taylor, John Russell, 56 self, loss of, 160 technical matters, Hollywood and, Selig Polyscope Studios, 45 31– 32 Shakespeare, William, 101, 147, 163 Teddington Studios, 27– 28 A Shrinking Island: Modernism and Temple, Shirley, 129 National Culture in England temporariness, 59– 62 (Esty), 141 Tennyson, Alfred Simeon, San, 128 in fiction, 161– 65 A Single Man (Isherwood), 61, 153, “Tithonus,” 165– 67 166– 69 Tonight (Coward), 145– 46 “Slaves of Hollywood” (Wodehouse), Trollope, Mrs., 8 53– 54 Tucker, Sophie, 129 Smith, C. Aubrey, 91, 126, 129 Turner, Lana, 32– 33 Smith, Dodie Beesly, Alec, pacifism of, 17 Updike, Nancy, 72– 73 on Beverly Hills homes, 54– 55 on climate, 69 Valentino, Rudolph, 100 on extravagance, 70 Velez, Lupe, 129 first impressions of Los Angeles, 51 Vermeer, Johannes, 88 I Capture the Castle, 42 Vidal, Gore, 32– 33 on insidiousness of Hollywood, 52 Viertel, Salka and Berthold, 131– 32 Isherwood, Christopher, Vile Bodies (Waugh), 97 correspondence, 67 Look Back with Gratitude, 23 Walpole, Hugh, 128, 136 on MGM writing assignment, 26 Captions Courageous, 33 payments to, 22– 23 impressions of Los Angeles, 52– 53 personality characteristics, 40 payments to, 22 on story conference at MGM, personal reasons for going to 37– 38 Hollywood, 18 and Tonight (Coward) screenplay, Warhol, Andy, 108 145– 46 Warner Bros., experiences of The Society of the Spectacle (Debord), employment in, 27– 28 98– 99 The Waste Land (Eliot), 20, 159 Southern California, British responses Waterloo Bridge (film), 37– 38 to topography, 13, 45– 73 Waugh, Evelyn climate and, 45– 47 on artists, 42 Spanish Earth (Hemingway), 129– 30 on class privilege, 29– 30 stability, loss of, 5 debasement of modern world, Stamp, Terrence, 136 153– 55 storytelling, art of, 36– 37 Decline and Fall, 97 Stravinsky, Igor, 16 film scenarios, working on, 26 studios (Hollywood), experiences of first impression of Los Angeles, 49 employment in, 12– 13, 15– 43 Forest Law, influence of on writing, Swanson, Gloria, 30 75 “Half in Love with Easeful Death,” Tales from the Hollywood Raj, 92– 93 70– 71 Taylor, Andrew, 4, 7 on identity, 123 Index ● 201

on images, 35 “The Juice of an Orange” (see joke- work and, 154 “The Juice of an Orange” on Los Angelenos, 68– 69 [Wodehouse]) on loss of stability, 5 Laughing Gas (see Laughing Gas The Loved One (see The Loved One [Wodehouse]) [Waugh]) on life of writer, 33– 34 “The Man Hollywood Hates,” 38– The Luck of the Bodkins, 160, 39, 124 162– 63 on medium of film, 69– 70 Meet Mr. Mulliner, 50 national tradition and, 6 “Monkey Business,” 23, 55, 112, on nature, 72 163 personal reasons for going to on “The Nodder,” 25, 111, 159 Hollywood, 18 Old Reliable, 155– 56, 158– 59 on remoteness of Hollywood, 62 payments to, 22– 23 on storytelling, 36– 37 on personal identity, 161 studios (Hollywood), experiences of personal reasons for going to employment in, 13 Hollywood, 18 on superficiality of Hollywood, on persons in Hollywood, 40– 41 139 The Plot that Thickened, 156– 57 on technical matters and “The Rise of Minna Nordstrom,” Hollywood, 31– 32 109– 10, 120– 21 on values, 36 “Slaves of Hollywood,” 53– 54 Vile Bodies, 97 social life of, 128 “Why Hollywood Is a Term of on values, 21 Disparagement,” 15, 114– 15 on writers, 42 Waugh, Laura, 49 Wood, Chris, 131 Wells, H. G., 128 Woolf, Virginia, 20, 145 Wharton, Edith, 8 The World in the Evening (Isherwood), “Why Hollywood Is a Term of 55– 56, 68, 153 Disparagement” (Waugh), World War I 114– 15 post- WWI, 17– 19 Wigham, Edmund, 23 World War II, 75 Wilde, Oscar, 8, 46– 47, 104 Pearl Harbor bombing, responses Wilder, Billy, 16 to, 92– 93 Wise Children (Carter), 147, 169 Wuthering Heights (film), 70 Wodehouse, P. G. Wyler, William, 136 “The Castaways,” 53, 81, 155 generally, 12 A Yank at Oxford (film), 28 on identity loss, 30 Yeats, W. B., 148 impressions of Los Angeles, 52– 53 YouTube, 106, 137