NEWSLETTER

Volume 23 Number 2 Autumn 1989

A HANDFUL OF DUST ON FILM: THE MISSING IMPLICATIONS By D. J. Dooley (University of Toronto) Edwin J. Blesch, Jr. provided an interesting and informative account of the film version of one of Waugh's most successful novels (EWN, Autumn 1988). His article contains such useful information as the fact that Carlton Towers, the Yorkshire home of the 17th Duke of Norfolk, became Tony Last's beloved Hetton Abbey, with very little change, and that the old railway station at Windsor, still used by the Queen, provided the setting for Brenda Last to see her dim lover, John Beaver, off for . Blesch especially emphasizes the attention to detail in the novel, not only in the period furnishings but in the visual connections made ingeniously between one setting and another and one episode and another. In his opinion, Derek Granger (writer and literary consultant) and Charles Sturridge (director), the same combination which was responsible fort he television version of Brides head, have done it again; the film is a brilliant and faithful adaptation of the novel. "Some Waugh fans may cavil with questions of emphasis and interpretation," he writes, "but most, I think, will find it inspired filmmaking."' It is possible, I think, to consider it an inspired and highly successful film, but still to cavil at the interpretation. Briefly, nearly the whole of Brideshead was caught in the television series, but aspects of A Handful of Dust which ought to be there by implication or as felt absences are not there at all. This is particularly true of the religious dimension. The novel was written a little more than three years after Waugh's conversion, which took place in 1930. He once said that "The Protestant attitude seems often to be, 'I am good; therefore I go to church,' while the Catholic's is 'I am very far from good; therefore I go to church.' " 2 He himself was apparently very far from good at the time he was writing A Handful of Dust; writing from Fez in Morocco to Lady Mary and Lady Dorothy Lygon in January of 1934, he told of making friends with a taxi driver who took him to the red-light district: "It was very gay and there were little Arab girls of fifteen and sixteen for ten francs each and a cup of mint tea. So I bought one but I didn't enjoy her very much because she had a skin like sandpaper and a huge stomach which didn't show until she took off her clothes and then it was too late.'' In a later letter to Lady Mary, he said, " ... I go most evenings and take my coffee in a brothel where I have formed an attachment to a young lady called Fatima.'''. In the first letter, he also said, "When I have finished this novel I think I will go to Jerusalem for a pilgrimage to become holy." However scarlet his sins were, however great the contradiction between his principles and his practice, there is no doubt about the central importance of religion in his thought. In an article entitled "Converted to Rome: why it has happened to me," which appeared in the in October 20, 1930, he ridiculed three popular errors regarding conversion to Catholicism-"The Jesuits have got hold of him,'' "He is captivated by the ritual,'' and "He wants to have his mind made up for him"-and explained the deeper reason as he understood it. "It seems to me," he wrote, "that in the present phase of European history the essential issue is no longer between Catholicism, on one side, and Protestantism, on the other, but between Christianity and Chaos." He regarded Europe's loss of faith as the active negation of all that western culture had stood for: Civilization-and by this I do not mean talking cinemas and tinned food, nor even surgery and hygienic houses, but the whole moral and artistic organization of Europe-has not in itself the power of survival. It came into being through Christianity, and without it has no significance or power to command allegiance. The loss of faith in Christianity and the consequential lack of confidence in moral and social standards have become embodied in the ideal of a materialistic, mechanized state, already existent in Russia and rapidly spreading south and west. It is no longer possible, as it was in the time of Gibbon, to accept the benefits of civilization and at the same time deny the supernatural basis upon which it rests. 4 Of course T. S. Eliot's Waste Land, from which Waugh took the title of A Handful of Dust, deals with a related theme: it shows modern man as living a lonely, neurotic, and empty life because ofthe lack of a common core of values in society and the absence of any faith which might produce regeneration. He possesses only "a heap of broken images"-fragments from, reminders of, past cultures in which beliefs and values were really alive and men themselves, in consequence, fully alive as well. Reviewing 's novel Living in 1930, Waugh detected in it "much the same technical -2- apparatus at work as in many of Mr. T. S. Eliot's poems." Reviewing David Jones' In Parenthesis in 1939, he wrote, "There are whole passages which, out of context, one might take for extracts from The Waste Land. "5 He knew the poem well then; in fact his own use of it in A Handful of Dust goes well beyond his choice of title. For example, Mme. Sosostris, famous clairvoyante, "With a wicked pack of cards," has her counterpart in Mrs. Rattery, who plays patience by herself and animal snap with Tony Last. The death by water in the poem has its parallel in Dr. Messenger's death by drowning, the fire and hallucinations in the poem in the fever and hallucinations of Tony. The dry bones of Ezekiel, of great importance in two sections of the poem-"The Burial of the Dead" and "What the Thunder Said"­ are found in the novel too; Brenda's brother Reggie comes home from Tunisia "where he was occupied in desecrating some tombs." As a result of his archaeological depredations, his house in London is indeed full of broken images-"fragmentary amphoras, corroded bronze axe-heads, little splinters of bone and charred stick, a Graeco-Roman head in marble .... "But perhaps the clearest example in the novel of Eliot's "withered stumps of time" is the jumble of objects, many of them misapplied because their significance is not understood, in Princess Jenny Abdul Akbar's room: "swords meant to adorn the state robes of a Moorish caid were swung from the picture rail; mats made for prayer were strewn on the divan; the carpet on the floor had been made in Bokhara as a wail covering ... "and so on for a long paragraph.' In the poem London is an "unreal City"; in the novel it is a jungle, a counterpart of the jungle in Brazil-a correspondence not sufficiently established in the film. The initial scene in both novel and film brings out the predatory nature of Mrs. Beaver, rejoicing at news of a fire which may bring her an interior decorating commission if she can beat out the competition. Helton is a sanctuary, a clearing in the jungle; a line near the end of Eliot's poem-"Shalll at least set my lands in order?"-explains what Tony Last attempts to do-to preserve the traditions of Helton, bogus though some of them are, and to preserve a way of life which finds room for generosity and responsibility. As Frederick Stepp puts it, Tony is the Innocent who, by sheer selflessness and dedication to a principle, becomes the instrument of a moral judgment: The principle is Helton and all that for which it stood: the integrity of marriage, responsibility towards the tenantry, the village, the Church, the house and its contents, poor relatives and next-of-kin, something which one can love unreservedly with that trust which comes of an undisturbed belief in its stability. The remoteness of this principle is expressed by the preposterous nature of its embodiment Hetton Abbey, pure English nineteenth-century Gothic .. . . The very quality of childish illusion, of immaturity, in the ideal, is a judgement on the grown­ up, matured savagery of others.' In the long run, Tony cannot keep out the London savages; Helton is invaded, and Mrs. Beaver threatens to cover the walls with chromium plating. The primitive Indians in Brazil, when they decamp, take nothing that is not theirs; they have their principles, they know their limits. In contrast, the London savages take all they can get; Brenda, under their influence, demands a large amount of alimony from Tony (with which to buy Beaver), even though she realizes that it will force him to sell his beloved Helton. Much of this is lost when the novel is translated into film; in fact, by leaving out one important character in the novel, the film ignores the effects of spiritual ignorance in the modern world. The marvellous sermons of Mr. Tendril, first delivered in the far reaches oft he Empire during the reign of Queen Victoria, illuminate this theme in the novel in a number of ways. As his name indicates, he himself makes only a slight impact upon an almost completely secularized society. Though the villagers enjoy his sermons, though he is considered the best preacher for miles around, "Few of the things said in church seemed to have any particular reference to themselves." Tony's regular attendance at church is merely a formal ritual with no religious meaning; during the service his thoughts drift from subject to subject: "Occasionally some arresting phrase in the liturgy would recall him to his surroundings, but for the most part that morning he occupied himself with the question of bathrooms and lavatories .... "He listens to the Vicar's Christmas sermon with pleasure, but it has implications which neither the preacher nor his congregation can possibly understand: · "How difficult it is for us," he began, blandly surveying his congregation, who coughed into their mufflers and chafed their chilblains under their woollen gloves, "to realize that this is indeed Christmas. Instead of the glowing log fire and windows tight shuttered against the drifting snow, we have only the harsh glare of an alien sun; instead of the happy circle of loved faces, of home and family, we have the uncomprehending stares of the subjugated, though no doubt grateful, heathen. Instead of the placid ox and ass of Bethlehem," said the vicar, slightly losing the thread of his comparisons, "we have for companions the ravening tiger and the exotic camel, the furtive jackal and the ponderous elephant ... "' -3- lnappropriate as may be its references to the harsh glare of an alien sun in an English midwinter, the sermon is very revealing. It is indeed difficult for people to realize that this is Christmas, for they live in a heathen land, dominated by ravening and exotic creatures instead of by Christian influences and symbols. These people are indeed far from home, from their spiritual home. So alien is religion to Tony's thinking that when the Vicar comes to call after John Andrew's death Tony finds the meeting with him very embarrassing: "I only wanted to see him about arrangements. He tried to be comforting. It was very painful ... after all the last thing one wants to talk about at a time like this is religion." The point is given additional emphasis by the ritual he goes through with Mrs. Rattery-not prayers for the dead but a game of animal snap. When Albert the butler comes in to draw the curtains, Mrs. Rattery is saying, "Bow-wow" in imitation of a dog and Tony is saying "Coop-coop-coop" in imitation of a hen. "Sitting there clucking like a 'en," Albert reports to his fellow servants, "and the little fellow lying·dead upstairs." In the absence of a spiritual dimension, men are merely animals and behave as such. "What is that city over the mountains" asks the speaker in the fifth section of The Waste Land. Under the guidance of Dr. Messinger, Tony goes in search of a lost city in South America which the Pie-wies call the "Shining," and Arekuna the "Many Watered," while the Warau use the same word for it as for a kind of aromatic jam they make. Tony can envisage it only in terms of what he has heard and what he is familiar with: For some days now Tony has been thoughtless about the events of the immediate past. His mind was occupied with the City, the Shining, the Many Watered, the Bright Feathered, the Aromatic Jam. He had a clear picture of it in his mind. It was Gothic in character, all vanes and pinnacles, gargoyles, battlements, groining and tracery, pavilions and terraces, a transfigured Helton, pennons and banners floating on the sweet breeze, everything luminous and translucent; a coral citadel crowning a green hill-top sown with daisies, among groves and streams; a tapestry landscape filled with heraldic and fabulous animals and symmetrical disproportionate blossom.' The implications are clear enough. Tony should be in search of the heavenly city, the City of God, but with no knowledge of it and with the wrong kind of guide he cannot possibly find it. Instead he searches for a grotesque parody, an aromatic jam, a transfigured Helton. In a moment of bitter realization, even in delirium, he concludes that "There is no City. Mrs. Beaver has covered it with chromium plating and converted it into flats. Three guineas a week with a separate bathroom. Very suitable for base love." Part of the irony related to the monument erected to him at Hetton before he is dead is that he is called "Explorer"; his journey has been circular rather than one of discovery, it has taken him from his Victorian house at Helton to the reading of Victorian novels in the Brazilian jungle, from one kind of enchantment-suggested by the fact that his bedroom is named after Morgan le Fay, a witch or enchantress in the Arthurian legends-to another, under the spell of Mr. Todd (played so superbly by Alec Guiness in the movie). What Granger and Sturridge failed to bring out in their film, therefore, was the underlying message of the novel, which was really a fictional illustration of Waugh's contention in "Converted to Rome" that civilization cannot exist without Christianity. Again, Frederick Stropp points this out very well: Of this book Mr. Waugh said, many years later, 'A Handful of Dust ... dealt entirely with behaviour. It was humanist and contained all I had to say about humanism.' All Mr. Waugh had to say about humanism in 1934 was that it was helpless in the face of modern savagery. Decency, humanity and devotion have failed, civilized life has degenerated into 'the all­ encompassing chaos that shrieked about his ears' .... Man is doomed to remain in his wire cage, reinforced against escape, unless some other principle is found to restore to him his liberty and to banish fear. Instead of the ravening tiger and the furtive jackal, the ox and ass of Bethlehem.10 Excellent as the film was, it was not faithful to the novel, because its makers did not see that the book was really about the importance of faith. Notes 1 Edwin J. Blesch, Jr., "(W)awe-lnspiring: Waugh's Handful of Dust on Screen," EWN, Autumn 1988, 3-6. 2 "Converted to Rome," in The Essays, Articles, and Reviews of Evelyn Waugh, ed. Donat Gallagher (London, 1983), p. 105. 3 The Letters of Evelyn Waugh, ed. Mark Amory (London, 1980), pp. 82 and 84. 4 "Converted to Rome," pp. 103-5. 5 Essays, pp. 81 and 196. 'A Handful of Dust (Harmondsworth, 1973 [1934], p. 114. 7 Frederick J. Stopp, Evelyn Waugh: Portrait of an Artist (London, 1958) p. 92. -4- 8 A Handful of Dust, p. 60. s Ibid., p. 160. 10 Stopp, pp. 99-100.

THE FOUNTAIN IN By Donald Greene The query in EWN (Winter, 1988) about the original of the great baroque fountain at Brides head Castle is readily answered. Christopher Sykes (Evelyn Waugh: A Biography, 1975, p. 252) reports that its details "were taken from the great fountain in the Piazza Navona in Rome, as Evelyn told me." Sykes's identifications, even when he tells us that Waugh verified them, are not always to be relied on-for example, his identification of Rex Mottram with Brendan Bracken. Bracken was Irish and Australian by origin, and Waugh seems always to have been on good terms with him; indeed, he was responsible for Waugh's being given the commission in the armed forces in 193.9 that Waugh so much desired. Moreover, he was a Catholic, educated by the Christian Brothers, and a patron of Ampleforth. (See the article by Douglas Woodruff in Dictionary of National Biography.) Mottram's original is much more probably Max Aitken, Lord Beaverbrook, a Canadian entrepeneur like Mottram, a staunch Presbyterian, who may also be the press baron Lord Copper, or Lord Monomark, proprietor of the Daily Excess. Waugh was briefly Beaverbrook's employee on the Daily Express. Nevertheless, Sykes's account of the origin of the Brideshead fountain seems undeniable. There are two fountains in the Piazza Navona, both designed by the greatest of baroque sculptors, Bernini, who also helped to design St. Peter's, Rome. The more famous is the Fountain of the Four Rivers (Fontana dei Quattro Fiumi), designed by Bernini and executed by him and other sculptors, the work being unveiled in 1651. The four rivers are the Danube, the Nile, the Ganges, and the Plata (Argentina), representing Papal authority in the four continents of Europe, Africa, Asia, and America. The work was commissioned by Pope Innocent X (Giovanni Baptista Pamphili), who developed the Piazza Navona, "one of the most sweeping and extravagant baroque transformations of an urban site" (Wittkower). In its center is a large rock, decorated with sculptured palm trees and other plants appropriate to the regions represented. On each of its four sides is a heroic statue of a male figure symbolizing one of the rivers, accompanied by sculptures of animals appropriate to its region: for the Danube, a magnificent horse; for the Nile, a lion; for the Plata (amusingly) an armadillo. The rock is crowned by an Egyptian obelisk, over 100 feet high, surmounted by a dove, the emblem of the Pamphili family. Much scholarship has been published about the fountain, one of Bernini's "most ingenious and daring creations." I have relied here on Rudolf Wittkower, Gian Lorenzo Bernini: The Sculptor of Roman Baroque (London: Phaidon, 1955) and Jan Lukas, Fountains of Rome (London: Paul Hamlyn, 1965). Waugh's description (BR, Little Brown ed., p. 81) seems very close. There is "tropical vegetation" (palm trees), though I am a little doubtful about "wild English fern." There are certainly "fantastic tropical animals," such as the armadillo. I haven't found the "camels and camelopards [giraffes]" in the photographs available, but they may be on some side not shown on them. The clincher, however, is "an Egyptian obelisk in red sandstone"-no other fountain in Rome, perhaps in the world, is so crowned. Perhaps some reader of EWNwith first-hand knowledge of the fountain can fill in details. Waugh says that the fountain at Brideshead, "such a fountain as one might expect to find in a piazza of Southern Italy," was "found, purchased, imported, andre-erected" a century earlier by one of Sebastian's ancestors. Wittkower reports that "a copy of the fountain in small dimensions is in the garden at Blenheim. It arrived in London in 1710, having been sent as a present to the Duke of Marlborough." Blenheim Palace is eight miles from Oxford, and this copy might have been Waugh's original inspiration.

CHRONOLOGY IN BRIDESHEAD REVISITED By Robert Murray Davis (University of Oklahoma) Some years ago I prepared for my students a chronology of events in Brideshead Revisited, and until articles by Kurt Schleuter' and John W. Osborne' appeared in EWN I thought I had worked out all the important details. But re-reading the novel in light of their findings shows that matters are more complicated, even tangled, than any of us had thought. Some dates are easy to assign because Waugh gives them or because he alludes to historical events. Some can be arrived at by triangulation. One contradicts all the other evidence. In the chronology which follows, I shall give the page references containing significant evidence (citing the Little, Brown Brideshead) and a minimum of commentary. 1866 Lord Marchmain born (p. 332: 73 in 1939. See Osborne) -5- 1900 Lord Brideshead born (p. 91: 3 years older than Sebastian) 1903 Charles born in October (p. 148); Sebastian Flyte born 1905 Julia Flyte born (p. 179: "just 18," summer 1923) (and, p. 238, was 19 at beginning of 1925) 1911 Cordelia Flyte born (p. 219: 15 in 1926) 191? Charles Ryder's mother killed in war; date unspecified 1918 Lord Marchmain refuses to return to his wife at end of war (p. 55) 1922 Autumn: Charles (college unspecified) and Sebastian (Christ Church) matriculate at Oxford shortly before Charles's 19th birthday (p. 24) 1923 March: Meets Sebastian (p. 29) Easter: trip to Ravenna with Collins May?-June?: first visit to Brideshead (dated by Eights Week) August: idyll at Brideshead; Julia meets Rex Mottram at Cap Ferra! September: trip to Venice and Lord Marchmain (p. 94; month of idyll at an end) October: new term at Oxford December: Sebastian's arrest for drunken driving 1924 Post-Christmas: "the grim invasion" at Brideshead Easter: Sebastian drunk at dinner May: Julia's secret engagement (pp. 186.188) Sebastian sent down from Oxford: Charles goes down at end of term Summer-Christmas: Sebastian and Samgrass in the Levant Autumn: Charles at art school in Paris Christmas: Julia refuses to take communion Twelve Days of Christmas (c.): hunt; Charles banished 1925 February (p. 170): Rex loses Sebastian in Paris; dinner with Charles May: Julia's engagement announced (p. 178); Rex's instruction; Bridey's bombshell June: Julia marries Rex (p. 178) 1926 April: General Strike; Charles returns to England May: Charles to Fez to see Sebastian; Lady March main dies June: Charles commissioned to paint Marchmain House 1930 Charles has first exhibition and marries Lady Celia Mulcaster (pp. 226, 231) 1934 Charles discovers Celia's infidelity (p. 268) and goes to Central America. Daughter, Caroline, born during his absence 1936 Early months: Charles and Celia reunited in New York; transatlantic voyage and beginning of affair with Julia; exhibition in London; crises over Mrs. Simpson (pp. 267, 278) 1936-1938 Passage of "two years and a bit" (pp. 278, 279) 1938 Summer: Bridey's engagement announced; Cordelia returns (p. 300: Charles has not seen her for 12 years); Munich conference between Hitler and Chamberlain ("peace in our time"); Charles is 34 (p. 296: so the divorce actions begin before October); Cordelia is 26 (p. 301: which assumes a birthday later than Charles's) 1939 Early: Lord Marchmain returns 1939 Summer (before September 1): Lord Marchmain dies; Charles and Julia part 1939-40 Charles goes on active duty {p. 5: "in the fourth year") 1943 Charles's unit moved to Pollock, near Glasgow 1943 Early spring (Charles is 39, p. 5): Charles returns to Brideshead with his unit Though some of these dates take a little digging, all but two are either consistent with each other or with external evidence or both. The first is easy to miss because it occurs in second line of Book 1, Chapter One, when Charles says that he first went to Brides head "more than twenty years ago." In view of all other evidence, this is impossible. The second has to do with Julia's age at, and therefore the date of, her reunion with Charles aboard the liner. At the beginning of Part II, Charles says that "nearly ten years" have elapsed since the action at the end of Part I (p. 226; and seep. 198), which would place the meeting in the early months of 1936. However, Charles describes Julia as "not yet thirty" (p. 239) This would put the action in 1935 rather than 1936. But the Simpson crisis, which is casually referred to twice in scenes taking place the same year as the voyage, occurred in 1936. Moreover, figuring forward "two Christmases" (p. 277) from 1935 would put the action of Part II, Chapter Ill in 1937, not 1938, and that is clearly impossible. And Julia says that she was "only twenty" just before her marriage to Rex (p. 198), which could accord with a birth year of 1905 if one is willing to allow at least three months to elapse after her birthday and still call her "just eighteen" in 1923. So why did Waugh, who normally took great care with such matters,' let these anomalies go unresolved? The first is fairly easy to explain: Waugh's first impulse was to make the action of the novel span two decades, and as he became involved in working out dates and ages overlooked what he had written. John W. Osborne has argued that Waugh made Lord March main old in one place for -6- one purpose and young, or immature, in another place for another' Perhaps Waugh's desire to have a neat ten years pass between the two major divisions of the novel ran afoul of his desire to have his romantic heroine's grand passion occur before her thirtieth birthday-forgetting, it seems, the view expressed a dozen years earlier that "Sex-appeal is made up of an infinite number of different stimuli, and in all but very few the woman over 30 has the debutante hopelessly beaten."' 1 "Anno Domini 1943," EWN, 20 (Autumn 1986), 4-6. 2 "A Problem of Chronology in Brideshead Revisited," EWN, 22 {Spring 1988), 3-4. 3 See Tourist in Africa (Boston: Little, Brown, 1960), pp. 28-29, where he notes that "The dis­ crepancies" in setting and character in Maurice Baring's C "are startling" and asks, "Did he never reread what he wrote?" 4 He says that he began his inquiry as a result of Gene D. Phillips' "stimulating study." One might echo Ronald Firbank's "stimulating to what?" · 5 "Why Glorify Youth?" The Essays, Articles and Reviews of Evelyn Waugh, ed. Donat Gallagher (Penguin), 127.

WAUGH AND THE SPANISH CIVIL WAR IN BRIDESHEAD REVISITED By John W. Osborne (Rutgers University) Cordelia returned from Spain, where she had served as a nurse during the Civil War, in November, 1938. (pp. 299-300 of the Little, Brown edition). Julia notes, "The other girls who went with the ambulance came back when the war was over; she stayed on, getting people back to their homes, helping in the prison camps." (p. 300). This is strange, because the Spanish Civil War did not end until March, 1939. There seem to be only two possible explanations of this confusion. One is that Waugh forgot the year in which the war ended. The other is that he took poetic license so that Cordelia could be in England in January, 1939, when Lord Marchmain returned from his exile. (p. 312). I think that the former is true-otherwise, Waugh could easily have provided a reason for Cordelia to return home early.

EVELYN WAUGH: A SUPPLEMENTARY CHECKLIST OF CRITICISM By Gerhard Walk (University of Wuppertal, Germany) This is a continuation of the earlier checklists, published in Evelyn Waugh Newsletter (EWN), ll,i; lll,i; IV,i; V,i; Vl,i; Vll,i; Vlll,ii; IX, iii; X, iii; Xl,iii; Xll,ii; Xlll,iii; XIV,ii; XV,iii; XVI,iii; XVII,ii; XVIII,ii; XIX,iii; XX,ii; XXI,ii; and XXII,ii. It includes books and articles published since 1987, as well as some items omitted from previous lists. Bangert, Kurt, and Jurgen Kamm, Die Darstellung des Zweiten Weltkriegs im englischen Roman. Reviewed by Heinz Antor, Literatur in Wissenschaft und Unterricht, XXII,i (1989), 75- 76. Bittner, David, "The Marches and the Marchmains Revisited", EWN, XXII,ii (1988), 1 - 3. Blayac, Alain, "More French Bibliography", EWN, XXII,iii (1988), 7- 8. Blesch, Edwin J., "{W)Awe-lnspiring: Waugh's A Handful of Duston Screen", EWN, XXII,ii (1988), 3- 6. Blow, Robert, "Sword of Honor: A Novel with a Hero", Durham University Journal, LXXX (1988), 305- 11. Chase, Kathleen, "Legend and Legacy: Some Bloomsbury Diaries", World Literature Today, LXI,ii (1987), 230- 33. Chevalier, Jean-Louis, "La subjectivite du narrateur impersonnel dans A Handful of Dust", Cycnos, Ill (1986- 87), 51-74. Crabbe, Katharyn W., Evelyn Waugh. Reviewed by Robert M. Davis, EWN, XXII,ii (1988), 8- 9. Davis, Robert Murray, "Bloomsbury - and After?", South Central Review, II l,ii (1986), 69 - 77. Davis, Robert Murray, Evelyn Waugh, Apprentice. Reviewed by Jerome Meckier, "Juvenile Waugh", Studies in the Novel, XIX,i (1987), 91 - 97. Davis, Robert Murray, "Quixote Meets Pinfold: George Orwell and Evelyn Waugh", Encounter, LXXXII,iii (1989), 46- 52. Doyle, Paul A., "Evelyn in Arthur Waugh's Diary", Part X, EWN, XXII,ii (1988), 9; Part XI, EWN, XXII,iii (1988), 8. ;< Doyle, Paul A., A Reader's Companion to the Novels and Short Stories of Evelyn Waugh: An annotated glossary of the narratives, a who's who among the characters, a gazetteer of the principal places, a description of the important proper names, and an explanation of abbreviations used in the stories (Norman, Okla.: Pilgrim Books, 1989). Gallagher, Donat {ed.), The Essays, Articles and Reviews of Evelyn Waugh. Reviewed by Alan Bell, -7- New York Times Book Review (14 Oct. 1984), 11; Alzina Stone Dale, Christianity and Literature, XXXV,i (1985), 72 - 73. Gauthier, D., "De Beaver a Trimmer: Constantes et evolution de Ia satire chez Waugh", Les Annees Trente (Nantes), no. 6 (1987). Going, William T., "Pre-Raphaelitism in Brideshead Revisited", Journal of Pre-Raphaelite and Aesthetic Studies, Vll,ii (1987), 90-93. j. Gorra, Michael Edward, "Through Comedy toward Catholicism: A Reading of Evelyn Waugh's Early Novels", Contemporary Literature, XXIX,ii (1988), 201 - 20. Greene, Donald, "Charles Ryder's Conversion?", EWN, XXII,iii (1988), 5-7. Greene, Donald, "Notes on Waugh and the Military", EWN, XXIII,i (1989), 1 - 3. Harvie, Christopher, "A Great House Shaken: The English Country House in the War-Time Novels of Evelyn Waugh and Joyce Cary", and Society (2 Dec. 1988), 37- 39. Heath, Jeffrey, "Lunch with Mrs. Waugh", EWN, XXII,iii (1988), 1-4. Hurtley, J. A., "Evelyn Waugh and the Loss of Arcadia", Revista Canaria de Estudios lngleses, XI (1985), 119- 24. f. Hynes, Joseph, "Two Affairs Revisited", Twentieth Century Literature, XXXIII,ii (1987), 234- 53. Jacquin, B., "Brides head Revisited et The Go-Between: Romans de Ia memoirs", Les Annees Trente (Nantes), no. 6 (1987). Jones, D. A. N., "Scoring off Waugh", Grand Street, Vll,i (1987), 158- 74. 7Z Kloss, Robert J., "The Origins of Waugh's 'Victim as Hero'", Journal of Evolutionary Psychology, Vll,iii - iv (1986), 285 - 97. Knowles, Sebastian David Guy, "A Purgatorial Flame: of the Second World War", Unpubl. Doct. Diss. (Princeton, 1987); Dissertation Abstracts International, XLVIII (1988), 2880. McDonnell, Jacqueline, Waugh on Women. Reviewed by Jerome Meckler, "Juvenile Waugh", Studies in the Novel, XIX,i (1987), 91 - 97. Mahler, Andreas, "Nachwort", in: Evelyn Waugh, (Stuttgart: Philipp Reclam jun., 1988), 171-91. Mahon, John W., "Charles Ryder's Catholicism", EWN, XXIII,i (1989), 5-7. Marra, James Lee, "The Lifelike '1': A Theory of Response to First-Person Narrator/Protagonist Fiction", Unpubl. Doct. Diss. (Texas Technical Univ., 1985); Dissertation Abstracts International, XLVII (1986), 523. [Brideshead]. Osborne, John W., "Hints of Charles Ryder's Conversion in Brideshead Revisited", EWN, XXII,iii (1988) 4-5. Osborne, John W., "A Reply to Donald Greene about Charles Ryder's Conversion", EWN, XXIII,i (1989), 3-5. Pickering, Sam, "On Alien Ground", Sewanee Review, XCVI (1988), 673- 82. [comments on ]. Rosenheim, A., "Some Aspects of the Later Work of Evelyn Waugh: 1945- 1966", Unpubl. M. Litt. Thesis (Oxford, 1984); Abstract in: Index to Theses, XXXVII,ii (1988), 444. Rupp, Richard H., "Waugh to End All Waughs", America, no. 152 (1985), 317- 19. Stannard, Martin, Evelyn Waugh: The Early Years. Reviewed by Donat Gallagher, "Nullity, Duplicity and Catholicity", Month, XXI (Apr. 1988), 633- 41; Molly Tibbs, Contemporary Review, CCIL (1986), 278 - 79; Bruce Stove!, Ariel, XX (Jan. 1989), 97 - 101. Wise, Brian, "Additional Waugh Bibliography", Part II, EWN, XXII,ii (1988), 8; Part Ill, EWN, XXIII,i (1989), 8. Yakir, Dan, "Waugh Revisited", Horizon, XXV,i (1982), 58- 59.

BOOK REVIEW Paul A. Doyle, A Reader's Companion to the Novels and Short Stories of Evelyn Waugh: An Annotated Glossary of the Narratives, A Who's Who Among the Characters, a Gazetteer of the Principal Places, a Description of the Important Proper Names, and an Explanation of Abbreviations used in the Stories (Norman, Oklahoma 73070: Pilgrim Books, P.O. Box 2399, 1989, $42.95. Reviewed by Charles Linck, East Texas State University). First there is The Glossary (pp. 3-111) that takes up each novel and then the selected anthology of short stories in turn. The obscure references and allusions in each are annotated alphabetically and profusely. Checking out myself on the topics for under vowels only, I found that this out-of­ context examination left me pretty much in the approximate condition Doyle refers to in his Preface: "there are vast knowledge gaps in considerable numbers of today's students, graduates, and general readers." I, surely once a "specialist," found that ofthe eleven "a" items one was a mystery, of the five "e" items two escaped me, of the four "o" items one was lost! I scored well with the two "i" and the -8- three "u" listings. I fared much worse with the lists, this making me even more ashamed in light of Evelyn's "Third" in History and all that! I quit this misery of counting abruptly, but studied onward. The second part is an A-to-Z Dictionary (pp. 115-203) of persons and places from the fiction (which must not be confused with real persons and places, of course, though it is easy to drift into confusion, I find. So many of these people have become real to me!). Harold MacMillan is on p. 86 in the (OG) section of The Glossary but not in The Dictionary, which can be double-checked in the Index to the Glossary (pp. 217-223)and (my italics) The Dictionary. He was a real person and doesn't get into The Dictionary. There are four appendices and a bibliography of works by, with a selected list of works about Waugh. Four of the latter are those contributed by the very helpful Donald Greene, which along with the appendix essay on Waugh's Hollywood and a plethora of credits in The Glossary annotations make him one of Doyle's most useful among the many specialists who have helped during the last eight years when the EWN carried solicitations for assistance in obtaining truth for obscurities that kept coming up as Doyle slaved away! The Waugh Companion is strictly wonderful! There's a universe of otherwise unavailable information, even for diligent readers and reference-book worms. It's a marvelous labor-saver. How much hard time in the stacks could have been saved me! How did anyone ever make it without this helpful aid? Of course, now-a-days I wonder about the inclusion of some of the items here and there, but, then, as Doyle admits in the Preface, it has to be impossible to know where to draw the line of in's and out's. Maybe one questions the inclusion of surrealist (on p. 40 under POMF), for the term is in Websters, in Benet's Reader's Encyclopedia, in the Oxford "companions" and the like. The next entry is Surtees, Robert Smith, who is probably so listed also, but would we know that Waugh liked his Mr. Sponge's Sporting Tour and his Jorrock's Jaunts And Jollities? No! The additional data given with so many of the entries is wonderful! And, say, in The Dictionary there is a hundred-plus word essay that pulls all the fictional biography of Apthorpe together from the three World War II novels. Wonderful! There are cross­ references galore, to reveal that Waugh could and did re-use hundreds of items over and over; i.e., in The Glossary for Brideshead Revisited (pp. 47-48 only) there is "battels-See Glossary under DP'; "Clive Bell-See Glossary under WS"; "bob-See Glossary under OF"; "Brancusi-See Glossary under POMF"; Bullingdon-See Glossary under OF"; "Cezanne-See Glossary under POMF''; "Chamberlain-See Glossary under POMF"; "chucka-See Glossary under HD"; u.s.w. Such painstaking collation of data must have over-burdened even an IBM data processor to speak nothing of our eight-years' task self-master Doyle! And, again, the annotations are filled with other important, obscure, difficult to discoverthings, such as mistakes made, corrections made silently, errors never discovered; i.e., on the same pages as above we will find that the 1960 edition of Brides head left out the allusion to "AIIadin's treasury," that "Barbizon" is spelled "Barbison" in some editions, that "bedder" was shifted to "next door" in the 1960 edition, that the 1960 edition added a rather embarrassing education about the three Bellini artists to Charles's repertoire of glib chit-chat which was not in the 1945 first edition. Wonderful! The whole Waugh Companion is so very filled with wonderful information that one cannot but wonder how Doyle ever managed to do it! And the kudos too for the Pilgrim Books' physical product, an exceptionally fine 7" x 10", easy to handle, reference book. I am very taken by the whole end result.

The Evelyn Waugh Newsletter, designed to stimulate research and continue interest in the life and writings of Evelyn Waugh, is published three times a year in April, September and December (Spring, Autumn, and Winter numbers). Subscription rate $6.00 a year. Single copy $2.50. Checks . or money orders should be made payable to the Evelyn Waugh Newsletter. Notes, brief essays, and news items about Waugh and his work may be submitted, but manuscripts cannot be returned unless accompanied by a stamped, self-addressed envelope. Address all correspondence to Dr. P. A. Doyle, English Dept., Nassau Community College, State University of New York, Garden City, N.Y. 11530. Editorial Board-Editor: P. A. Doyle; Associate Editors: Winnifred M. Bogaards (University of New Brunswick); Alfred W. Borrello (Kingsborough Community College); James F. Carens (Bucknell Univ.); Robert M. Davis (Univ. of Oklahoma); Heinz Kosak (Univ. of Wuppertal); Charles E. Linck, Jr. (East Texas State Univ.)