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Dorothy L. Sayers' Bloomsbury Years in Their "Spatial and Temporal Content"

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Dorothy L. Sayers' Bloomsbury Years in Their Volume 19 Number 3 Article 2 Summer 7-15-1993 "A Bloomsbury Blue-Stocking": Dorothy L. Sayers' Bloomsbury Years in Their "Spatial and Temporal Content" Nancy-Lou Patterson Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Patterson, Nancy-Lou (1993) ""A Bloomsbury Blue-Stocking": Dorothy L. Sayers' Bloomsbury Years in Their "Spatial and Temporal Content"," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 19 : No. 3 , Article 2. Available at: https://dc.swosu.edu/mythlore/vol19/iss3/2 This Article 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 Contends that Sayers’s “Bloomsbury years formed a significant source for and influence upon her detective fiction.” Additional Keywords Sayers, Dorothy L.—Biography; Sayers, Dorothy L.—Detective novels—Sources This article is available in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: https://dc.swosu.edu/mythlore/vol19/iss3/2 p & x s e 6 issu e 73 sucncnerc. 19 9 3 ™ ^glEK. TTcgOTpDlKM, ©DMT(gMTTz' KJA.KJCY'1-OU PATTCRSOKJ It's no affair of mine how you behave in Bloomsbury... misogyny, masquerading beneath the veneer of a sexually — Dorothy L. Sayers, Gaudy Night (1935)1 liberated, enlightened humanism.”8 What, then, is Bloomsbury? As a geographical location, L JJU JM jn the last to be published of Dorothy L. Sayers' Bloomsbury remains, even today, a "partly residential" JP| r a j detective novels, the Countess of Severn and district located between the West End and "the City." The rail writes to Lord Peter's mother, the site of both the British Museum and the University of iaSomufl Dowager Duchess of Denver, that London, it is distinguished by a series of beautiful, tree- to see your amorous sweet devil of a son wedded to an surrounded squares, the earliest of which — Bloomsbury Oxford-Bloomsbury blue-stocking should add consid­ Square — was created in 1660, lined with seventeenth and erably to the gaiety of the seacnn * eighteenth century houses,9 many of them already broken The soubriquet "blue-stocking," which she applies to Harriet up into flats in M iss Sayers' day. Into this physical setting, Vane — defined as "a woman with intellectual or literary the Bloomsbury of "modem English fiction, biography, interests"3 — could equally be applied to Miss Sayers economics, aesthetics, painting and decoration," and herself; both she and her creation had attended Oxford and "models of modem living" ("for good or ill") (Rosenbaum, lived in Bloomsbury. These facts are by no means co­ 1975, p.l), came into being in 1904, when, following the incidental or without significance in the life and work of death of the eminent Victorian biographer Leslie Stephen, Dorothy L. Sayers. It is my thesis that her Bloomsbury his four children moved to 46 Gordon Square, years formed a significant source for and influence upon Bloomsbury.10 Vanessa Bell, elder of his two daughters, her detective fiction. S. P. Rosenbaum, a specialist in destined to become an artist, explained this move in a Bloomsbury studies, states that while modem literary memoir written in 1951: study dislikes the use of "spatial and temporal context"4 in We knew no one living in Bloomsbury then and that I think the interpretation of literature, he uses this mode in his was one of its attractions... It seemed as if in every way we discussion of Bloomsbury, and so shall I. were making a new beginning in the tall clean rather frigid rooms, heated only by coal fires in the old-fashioned fire­ The extreme cachet of Bloomsbury has been character­ places. (Quoted in Rosenbaum, 1975, p. 75-76) ized variously by Miss Sayers' biographers; Alzina Stone Dale calls it "a part of London where young intellectuals Her younger sister, Virginia Stephen (whom the world lived and worked and talked about art and love and poli­ knows by her married name Virginia W oolf), wrote of the tics,"5 while Nancy M. Tischler styles it "Vanity Fair," house as it looked in 1908: defining "Bloomsbury women" as "flamboyant, icono­ The drawing room had greatly changed its character... clastic, and independent career women who rejected the the age of Augustus John was dawning. His Pyramus Victorian rules of decorum and domesticity for a new filled one entire wall. The Watts portraits of my father freedom."6 The reality behind these colorful impressions and my mother were hung downstairs... Clive had will be discussed below. That Miss Sayers herself knew hidden all the match boxes because their blue and what a reference to Bloomsbury meant is made clear in yellow swore with the prevailing colour scheme. (Ibid.) Gaudy Night when Harriet Vane returns from the results of In this setting, the four young people held an impromptu a disastrous sojourn in Bloomsbury to the apparent sanc­ salon every Thursday evening; one of its number, CUve tuary of Oxford. She is confronted by Shrewsbury Bell, who married Vanessa in 1907, recorded that the "set College's Miss Hillyard, who demands to know what her of friends” thus formed was first given a name "by Lady relations are with Lord Peter, a man she calls "notorious MacCarthy... in a letter: she calls them 'the Bloomsberies.'" all over Europe,"7 and declares: "It's no affair of mine how you behave in Bloomsbury. But if you bring your lovers The Bloomsbury Group which developed from this here —" (Ibid.). She is clearly implying Bloomsbury's beginning consisted in part of Virginia and Leonard reputation for sexual liberty. What that liberty actually Woolf, Vanessa and Clive Bell, Lytton Strachey, E.M. meant for Dorothy and for her alter ego Harriet, as well as Forster, John Maynard Keynes, Roger Fry, Duncan Grant, for the women whose lives in part gave that reputation to and Desmond MacCarthy. Rosenbaum describes them as Bloomsbury, is attributed with terrible accuracy by Louise "a collectivity of friends and relations who knew and loved de Salvo to "Bloomsbury's virulent if unconscious one another for a period of time extending over two gen­ JWYTftLORe issue 73 — SUCDCD6R 1993 pa.<?e 7 erations." (Rosenbaum, 1987, p. 37) Nigel Nicholson, a son Dorothy L. Sayers, bom in 1893, was eleven years of Virginia Woolf's most famous lover, Vita Sackville- younger than Virginia Woolf, her most obvious West, characterized these relationships succinctly: "They Bloomsbury parallel, and not, like M iss Virginia Stephen, were all in love, man with girl, man with man, girl with in 22 Hyde Park Gate London, but in the "old" Choir House man, girl with girl."12 The fact that even on the occasion of in Brewer Street near the entrance to Christ Church the centenary of Virginia Woolf's birth (she was bom in College in Oxford. Her father, the Reverend Henry Sayers, 1882), he could characterize these distinguished women as a far less eminent man than Leslie Stephen, nevertheless "girls"— while calling their partners, also young at the time enjoyed some significance in Oxford. He was Chaplain of — "men," carries a lingering whiff of "unconscious misog­ the College and Headmaster of the Choir School of Christ yny." Many of the "men" (unlike Virginia Woolf) had at­ Church Cathedral,14 actually the College chapel, where tended university, and unlike Dorothy L. Sayers, the "Ox- Dorothy was baptized cm July 26, 1893 (Ibid., p. 3) in an ford-Bloomsbury blue-stocking," they had experienced a exquisite setting known for its fine Pre-Raphaelite stained "shared education at Cambridge." (Rosenbaum, 1987, p. glass. One result of her birth was a family move to a "new" 23). The difference, in Miss Sayers' case, is significant. Choir House on Brewster Street, itself a thoroughfare so old it still possessed itscobbles. (Ibid.,p. 6) Here she spent four years, Leonard Woolf attributed "the colour of our minds and followed by a more radical move in 1898 to Bluntisham-cum- thought" to "the climate of Cambridge and Moore's philoso­ Earith in Huntingdonshire (a "living" which was "in the gift" of phy;" (Ibid.) Virginia Woolf had not escaped this influence Christ Church) (Ibid., p. 7). It was a country rectory where her Her father, Leslie Stephen, had emerged from the cultural father enjoyed having time for his books, and his wife experi­ milieu that characterized Cambridge in the early nineteenth enced the life of a rural rector's spouse. Also unlike Virginia century, including the "Clapham Sect," a major center of Stephen, who grew up in a complexly mixed household of the Anglican Evangelicalism, whose major moral focus was the children of current and previous spouses, including the half- abolition of slavery. The revolt of its Bloomsbury descen­ brother who inflicted his sexual desires upon her, Dorothy was dants was not against this moral mandate, but against evan­ and remained an only child. Considering her conviction as an gelical restraints upon "the senses,..
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