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Newsletter 26 The W. H. Auden Society Newsletter Number 26 ● December 2005 Memberships and Subscriptions Annual memberships include a subscription to the Newsletter: Individual members £ 9 $15 Students £ 5 $8 Institutions £ 18 $30 New members of the Society and members wishing to renew should send sterling cheques or checks in US dollars payable to “The W. H. Auden Society” to Katherine Bucknell, 78 Clarendon Road, London W11 2HW. Receipts available on request. Payment may also be made by credit card through the Society’s web site at: http://audensociety.org/membership.html The W. H. Auden Society is registered with the Charity Commission for England and Wales as Charity No. 1104496. Submissions to the Newsletter may be sent in care of Katherine Bucknell, 78 Clarendon Road, London W11 2HW, or by e-mail to: newsletter@audensociety.org All writings by W. H. Auden in this issue are copyright 2005 by The Estate of W. H. Auden. 35 never will be. But people will always read your prose and take strength from it’. ALAN MUNTON Contents Dr Alan Munton is Archivist at the University of Plymouth, England. He is preparing a book on Wyndham Lewis and websites on Lewis and Ronald Peter Davidson: Stopping the Clocks 5 Duncan. John Smart: Gresham’s Poems: John Hayward and W. H. Auden 9 E. M.: A Revised Census of Auden’s Poems (1928) 14 Recent and Forthcoming Books Dana Cook, compiler: Meeting Auden: First Encounters The Idea of North, by Peter Davidson (London: Reaktion Books, 2005), and Initial Impressions (Part II) 19 explores the concept of “north” through history, imagination, and geography. Its illuminating pages on Auden are among the many attractions of this exciting and engaging work. Book Reviews The Cambridge Companion to W. H. Auden , edited by Stan Smith, Auden and Christianity, by Arthur Kirsch (New Haven: Yale reviewed by Marsha Bryant 25 University Press, 2005), is an important contribution to Auden February House, by Sherrill Tippins, studies. A review will appear in a forthcoming issue of the Newsletter . reviewed by Rachel Wetszteon 28 The Library of Edward Upward, by Charles Cox Randall Jarrell on W. H. Auden, edited by Stephen Burt, with Hannah reviewed by Charles Cox 31 Brooks-Motl (New York: Columbia University Press, 2005), is a reconstructed and annotated text of Jarrell’s lectures on Auden, Recent and Forthcoming Books 34 delivered in Princeton in 1951-52, and perhaps more illuminating on Memberships and Subscriptions 35 Jarrell than on Auden. ISSN 0995-6095 34 by Upward, who on the paper spine he added, attributed the book to Roger Fry!) The most important dating, perhaps, is of Upward and Isherwood’s reading of Freud. The copy here of the Introductory Lec- tures on Psycho-Analysis (1923) is signed ‘C B Isherwood’ and dated on his twenty-first birthday, 26 August 1925. In Upward’s hand is added the date 4 April 1926, and there are pencil markings in the text, and page references on the rear paste-down. More extensive attention was devoted to Jung’s Psychological Types (published 1926—but without a date of reading), where rear endpaper notes include this remark: ‘Jung gave status to the “emotive” imagery which I.A.R. belittled’. Upward is here developing his dissatisfaction with I. A. Richards, who had not responded seriously enough to an approach from Upward after a lecture in 1925, and was to be opposed in ‘Sketch for a Marxist Interpretation of Literature’ in 1937. Upward’s annotations to Jung suggest an interest in arguments concerning the objective reality of feelings, which will not surprise admirers of Journey to the Border . On p. 211, for example, a pencilled arrow points to this sentence: ‘The unconscious disposes of a whole world of images, whose boundless range yields in nothing to the claims of the world of “real” things’. The endpapers quote from p. 556: ‘The primordial image [,] then [,] is the psychic expression of an anatomically and physiologically deter- mined disposition’. The imaginative and the material: without for a moment suggesting that he relied upon Jung, we can see prefigured here Upward’s struggle between the dream and the material (and inevitably political) world. There is much else here of interest, such as the battered copy of Ulysses , bought in Paris in 1926, and a delightful letter from the poet Robert Nichols, worn but carefully preserved, in which Nichols comments helpfully on Upward’s schoolboy poetry, recommending ‘Bobby Graves’ and ending ‘Send me some more when you feel like it—I believe in you’ (8 May 1920). Upward’s Isle of Wight friendships are well represented by the books of Neville Braybrooke and his wife June, who published novels under the name Isobel English, and by those which David Gascoyne presented to Upward and his wife Hilda, and including amongst ephemera ‘an open letter to Terry Waite by Gascoyne’s wife’ Judy (unnamed here). A number of books from Adrian Mitchell testify to his friendship and admiration, and a quotation from a letter by him written in 1991 to accompany Adrian Mitchell’s Greatest Hits goes far to explain why so many people believe Upward to be important: ‘We love your writing and value your steadfastness. Truth and great writing were never fashionable and 33 Auden items altogether, including twenty books of poems that Stopping the Clocks Upward presumably acquired himself, and—in an interesting late development where scholars intervene with new texts by friends— It would be agreeable to report the discovery of the source for one of the Auden juvenilia and uncollected writings sent to him by the Auden’s most famous lines—“Stop all the clocks”—but, for the mo- editors, Katherine Bucknell and Nicholas Jenkins. Given his political ment, I can only report almost having found such a source, and in the importance to his contemporaries, it is significant (as Charles Cox process having discovered a certain amount about the intellectual life shrewdly notes), that Upward does not appear in Authors Take Sides of Auden’s father, George Augustus Auden, especially about studies on the Spanish Civil War. Was it editorial incompetence, ignorance of of the “Old North” which would have been available to influence the who mattered, or a refusal? I doubt if it was the last. early poetry of his son. There are thirty-six books here by Isherwood (four of them jointly On reflection, the phrase “Stop all the clocks” is the element with Auden), including the specially bound advance proof copy of which doesn’t quite fit the litany of silencings which make up the first All the Conspirators (1928), and a separate dedication copy. Of the verse of Auden’s celebrated poem, verses which first appeared as a four books owned by Isherwood (dated 1926-28), the most interesting hallucinatory mock-dirge in the last act of The Ascent of F6. All the is his copy of Prince D. S. Mirsky’s Contemporary Russian Literature other injunctions in the verse—to silence pianos, telephone and dog 1881-1925 (published 1926, dated by Isherwood February 1928). On to give place to the funereal drumbeats—are about sound, but stop- the endpapers is copied out, in a small, fastidious and immaculate ping the clock is only partly about silencing ticking and striking. hand a translation by Babette Deutsch and Avrahm Yarmolinsky of Cutting off the telephone is to cut off communication with the living, Ilya Ehrenburg’s long poem ‘The Sons of our Sons’ which begins: but the resonances of stopping the clock on a death go further than ‘The sons of our sons will marvel, / Paging the text-book: / “1914. the immediate metaphorical equivalence of stopping the ticking 1917. 1919. .How did they live? The poor devils!”’. The poem ends pendulum and the heart stopping. with revolutionaries taken out to be shot: ‘We loved, we destroyed, Throughout northern Europe and in parts of North America, we lived—in the hour of our death’. Isherwood’s engagement with mostly in rural communities, the physical action of stopping the clock emotional revolutionary uplift of this kind was firmly suppressed is an essential part of the customs which were observed immediately when in the 1930s he chose to look on the world with detachment, as upon a death, to ensure the release and passage of the soul. This cus- if he were a camera. tom would appear to have had a very wide currency. It is hard to Not all Upward’s friendships persisted so strongly as that with believe that this aspect of “stopping the clock” would not have been Isherwood. J. M. Cohen is represented here by a number of his trans- present in Auden’s mind, given the interest in English popular tradi- lations for Penguin, publications between 1946 and 1974 fondly an- tion which soon found expression in The Oxford Book of Light Verse. If notated (for example ‘Edward with love Jack. April 1963.’) until we we are aware of Auden’s family interest in the literature, artefacts and reach the last, The New Penguin Dictionary of Quotations of 1992, where folklore of old Scandinavia, the possibilities are widened. Upward has written against Cohen’s name on the title page: ‘my A classic survey of Scandinavian folk-customs on a death was friend Jack who turned against me in the end’. Cox remarks suc- published a decade after Auden’s verses were composed, although it cinctly: ‘a sad memorial to fifty years of friendship’. makes (unfortunately inaccurate) reference to material apparently Inspection of these books shows that Upward had one trait that published in Norwegian in 1934. There is, by the way, no doubt of will endear him to bibliographers, scholars and critics: he often pen- Auden’s father’s ability to read Norwegian, or of his interest in such cilled in the date when he read a book, so we know that he completed matters.
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