Notes

Introduction

1. Oxford English Dictionary. 2. Ibid. 3. Ibid. 4. W.J.T. Mitchell, Iconology: Image, Text, Ideology (University of Chicago Press, 1986), p. 9.

1 Influence, Image, and the Movement of Time

1. Jonathan Lethem, ‘The Ecstasy of Influence: A Plagiarism’, Harper’s Magazine, February 2007, 59– 71. 2. Elizabeth Petrino, ‘Allusion, Echo, and Literary Influence in Emily Dickinson’, The Emily Dickinson Journal, 19:1 (2010), 80– 102 (p. 80). 3. Ibid. 4. Andrew Elfenbein, ‘On the Discrimination of Influences’, Modern Language Quarterly, 69:4 (2008), 481– 507 (p. 486). 5. Katherine Haake, ‘Against Reading’, in Can it Really Be Taught? Resisting Lore in Creative Writing Pedagogy (Portsmouth: Boynton/Cook, 2007), 14– 27 (p. 21). 6. Joseph Bristow, Effeminate England: Homoerotic Writing after 1885 (Buckingham: Open University Press, 1995), p. 175. 7. Alan Sinfield, ‘Culture, Consensus and Difference: Angus Wilson to Alan Hollinghurst’, in British Culture of the Postwar: An Introduction to Literature and Society, 1945– 1999, ed. Alistair Davies and Alan Sinfield (London: Routledge, 2000), pp. 83– 102 (pp. 95– 6). And to this list I would add: a refinement of Christopher Isherwood, a judgement of Robert Mapplethorpe, and a cultiva- tion of Harold Acton. 8. Bristow, Effeminate England, pp. 174– 5. Taking into account Hollinghurst’s recurrent fascination with Henry James’s ‘The Aspern Papers’ (1888) and ‘The Death of the Lion’ (1894), this image of a forbidding textual archive seems especially relevant, and it is, indeed, the challenges of influence pre- sented by these Jamesian archives to which I will turn in later chapters. 9. Alistair Stead, ‘ Self- Translation and the Arts of Transposition in Allan [sic] Hollinghurst’s The Folding Star’, in Translating Life: Studies in Transpositional Aesthetics, ed. Shirley Chew and Alistair Stead (Liverpool University Press, 1999), pp. 361– 85 (pp. 361– 2). 10. David Alderson, ‘Desire as Nostalgia: The Novels of Alan Hollinghurst’, in Territories of Desire in Queer Culture: Refiguring Contemporary Boundaries, ed. David Alderson and Linda Anderson (Manchester University Press, 2000), pp. 29– 48 (p. 44). 11. Denis Flannery, ‘The Powers of Apostrophe and the Boundaries of Mourning: Henry James, Alan Hollinghurst, and Toby Litt’, Henry James Review, 26:3 (2005), 293– 305 (pp. 296– 7), my italics.

154 Notes to Chapter 1 155

12. Julie Rivkin, ‘Writing the Gay ’80s with Henry James: David Leavitt’s A Place I’ve Never Been and Alan Hollinghurst’s The Line of Beauty’, Henry James Review, 26:3 (2005), 282– 92 (p. 282). 13. Georges Letissier, ‘Queer, Quaint and Camp: Alan Hollinghurst’s Own Return to the English Tradition’, Études anglaises, 60:2 (2007), 198– 211 (p. 199). 14. On The Picture of Dorian Gray as the ‘locus classicus of the modern homo- sexual novel’, see: Jeffrey Meyers, Homosexuality and Literature, 1890– 1930 (London: Athlone, 1977), p. 14. 15. On The Great Gatsby as ‘a story of love between men’ mediated by the con- testation of ‘paternal authority’, see Denis Flannery, On Sibling Love, Queer Attachment and American Writing (Aldershot: Ashgate, 2007), p. 9. 16. In his review for The New York Times, Anthony Quinn was quick to point out possible sources of names in The Line of Beauty, particularly Powell and Fitzgerald. Flannery, on the other hand, has seen the names as growing from a Jamesian corpus. See: Denis Flannery, ‘The Powers of Apostrophe and the Boundaries of Mourning: Henry James, Alan Hollinghurst, and Toby Litt’, Henry James Review, 26:3 (2005), 293– 305 (p. 297); Anthony Quinn, ‘The Last Good Summer’, New York Times, 4 October 2004, p. 19. 17. In a certain sense, The Line of Beauty is a roman- à- clef that takes for its back- ground a vast cast of characters from nineteenth- and twentieth- century literature: the key to this novel lies not in identifying fictionalized figures from the real world, but in identifying fictional figures that have been reallocated and recast. Yet in a novel so happily bound to the conventions of post- Jamesian realism, such a technique – one which breaches the boundaries of parody and pastiche – is not simply unexpected, but quite positioned to evade immediate detection. 18. Mitchell, Iconology, p. 10. 19. Ibid. 20. Ibid. 21. Marisa Bortolussi and Peter Dixon, Psychonarratology: Foundations for the Empirical Study of Literary Response (Cambridge University Press, 2003), p. 15. 22. Jay Clayton and Eric Rothstein, ‘Figures in the Corpus: Theories of Influence and Intertextuality’, in Influence and Intertextuality in Literary History, ed. Jay Clayton and Eric Rothstein (Madison: University of Wisconsin Press, 1991), pp. 3– 36 (p. 3). 23. Leon Roudiez, in Julia Kristeva, Desire in Language: A Semiotic Approach to Literature and Art, ed. Leon Roudiez (Oxford: Basil Blackwell, 1980), p. 15. 24. Julia Kristeva, ‘The Bounded Text’ (1969), in Desire in Language, p. 36. 25. J.- K. Huysmans, À rebours (1884; repr. London: Penguin, 2003), p. 49. 26. Nancy Mitford, The Pursuit of Love and Love in a Cold Climate (1945; repr. New York: Vintage, 2001), p. 83. 27. Laura White, ‘The Rejection of Beauty in Waugh’s Brideshead Revisited’, Renascence, 58:3 (2006), 180– 94 (p. 184). 28. Ibid. p. 185. 29. Evelyn Waugh, Brideshead Revisited: The Sacred and Profane Memories of Captain Charles Ryder (1945; repr. New York: Little, Brown, 1999), p. 164. 30. Ibid. p. 169. 31. Mitford, Pursuit of Love, p. 83. 32. Susan Blackmore, The Meme Machine (Oxford University Press, 1999), p. 64. 156 Notes to Chapter 1

33. White, ‘Rejection of Beauty’, p. 184. 34. Huysmans’s novel is, however, still explicitly invoked in The Folding Star: ‘I had him closeted with me in des Esseintes- like privacy, in a sealed world of silk and fur and absolute indulgence’ (FS 224). 35. Alexandra Harris, Romantic Moderns: English Writers, Artists and the Imagination from Virginia Woolf to John Piper (London: Thames & Hudson, 2010), p. 12. 36. Geoff Gilbert, Before Modernism Was: Modern History and the Constituency of Writing (Basingstoke: Palgrave, 2004), p. ix. 37. Harold Bloom, The Anxiety of Influence, 2nd edn (Oxford University Press, 1997), p. 7. 38. Harold Bloom, A Map of Misreading (Oxford University Press, 1975), p. 9. 39. It was not until the second edition of The Anxiety of Influence that Bloom, in a new preface, wrote on Shakespeare, the poet he has long and staunchly held as the most central figure in English literature, and, therefore, the very cause of influence anxiety. 40. W. Jackson Bate, The Burden of the Past and the English Poet (Cambridge, Mass.: Harvard University Press, 1970), p. 3. 41. Ibid. p. 106. 42. See Elfenbein on the Romantic ‘cult of genius’ and homosexuality: Romantic Genius: The Prehistory of a Homosexual Role (New York: Columbia University Press, 1999). 43. Mark Rose, Authors and Owners: The Invention of Copyright (London: Harvard University Press, 1993), p. 39. 44. Bloom, Anxiety, pp. 5– 6. 45. Exactly 100 years previously, the ‘Advertisement’ to the 1798 anonymous edition of Lyrical Ballads, which would be replaced in the three subsequent editions with Wordsworth’s more famous ‘Preface’, would confess that, ‘THE RIME OF THE ANCYENT MARINERE was professedly written in imitation of the style as well as of the spirit of the elder poets; but with few exceptions the author believes that the language adopted in it has been equally intelligible for these last three centuries.’ Perhaps Wilde’s failure, then, is in not ‘professedly [writing] in imitation of the style as well as the spirit of the elder poets’. See: Michael Mason, ed., ‘Advertisement’ to Lyrical Ballads, 1798 edition, Lyrical Ballads (London: Longman, 1992), p. 35. 46. Qtd in Bloom, Anxiety, p. 6. The bracketed text has been added from the orig- inal: Oscar Wilde, The Picture of Dorian Gray (1891; repr. Ware: Wordsworth, 1992), p. 18. 47. Wilde, Picture, p. 102. 48. Bloom, Anxiety, p. 6. 49. T.S. Eliot, ‘Tradition and the Individual Talent’, in Selected Prose of T.S. Eliot, ed. Frank Kermode (London: Harcourt, 1975), pp. 37– 44 (p. 38). 50. T.S. Eliot, ‘The Metaphysical Poets’, in Selected Prose of T.S. Eliot, ed. Frank Kermode (London: Harcourt, 1975), pp. 59– 67 (pp. 64– 5). 51. Ibid. p. 65. 52. Bloom, Map, p. 19. 53. Ibid. p. 49. 54. Roland Barthes’s use of Balzac’s castrato in ‘The Death of the Author’ becomes especially poignant in light of Gilbert and Gubar’s line of reason- ing, and particularly in the light of the opening question of The Madwoman Notes to Chapter 2 157

in the Attic: ‘is a pen a metaphorical penis?’ Sandra Gilbert and Susan Gubar, The Madwoman in the Attic: The Woman Writer and the Nineteenth- Century Literary Imagination, 2nd edn (1979; repr. London: Yale University Press, 2000). The absence of the castrato’s penis is not only pivotal to the contriv- ances of ‘Sarrasine’, but pivotal to Barthes’s argument that not only can an absence of a penis/pen engender authorship, but, indeed, authorship is demonstrably the absence of such an instrument. ‘Sarrasine’ is an ideal story for Barthes to use, in that its representational power here far outstretches its implicit textual significance, and heralds future reconsiderations of the relationship that exists between texts, and the relationship between author and reader that will necessarily inform this. 55. One of the few sustained accounts of gay literary influence is Christopher Lane’s short review article, ‘Gay Tradition and the Anxiety of Influence’. In it, he reviews Bergman’s Gaiety Transfigured (1991), Mark Lilly’s Lesbian and Gay Writing (1990), and Claude Summers’s Gay Fictions: Wilde to Stonewall (1990). See: Christopher Lane, ‘Gay Tradition and the Anxiety of Influence’, Contemporary Literature, 34:2 (1993), 293– 303. 56. David Bergman, Gaiety Transfigured: Gay Self- Representation in American Literature (Madison: University of Wisconsin Press, 1991), p. 5. 57. Susan Sontag, ‘Notes on Camp’, in Against Interpretation (New York: Octagon, 1978), pp. 275– 92 (p. 275). 58. Heather Love, Feeling Backward: Loss and the Politics of Queer History (London: Harvard University Press, 2009), p. 7. 59. Michael Moon, A Small Boy and Others: Imitation and Initiation in American Culture from Henry James to Andy Warhol (London: Duke University Press, 1998), p. 11. 60. Ibid. p. 3. 61. Lee Edelman, No Future: Queer Theory and the Death Drive (London: Duke University Press, 2004), p. 19. 62. Elizabeth Freeman, ‘Introduction’, GLQ, 13:2– 3 (2007), 159– 76 (p. 159). 63. Edelman, No Future, p. 7. 64. Judith Halberstam, In a Queer Time and Place: Transgender Bodies, Subcultural Lives (New York University Press, 2005), p. 152. 65. Annamarie Jagose, Inconsequence: Lesbian Representation and the Logic of Sexual Sequence (London: Cornell University Press, 2002), p. ix. 66. Edelman, No Future, p. 4. 67. Halberstam, In a Queer Time, p. 1. 68. Edelman, No Future, p. 35.

2 Sun- Worship and the Idolatry of Images: Derek Jarman, Philip Glass, and The Swimming- Pool Library

1. Following development in the 1980s, Skinner’s Lane is now a back alley servicing the corporate façades looking out on to Upper Thames Street. Hollinghurst’s novel imaginatively portrays the last aristocratic resident of this street and a fictitious house which has ‘the eccentric rectitude of a colo- nial staying on, unflaggingly keeping up appearances’ (SPL 70). The specific location of Charles’s house suggests that Hollinghurst was familiar with 158 Notes to Chapter 2

a series of excavations that took place on that site in 1964, 1969, and 1987– 88 to uncover a large first- century CE Roman bathhouse complex extending into Queen Victoria Street. A Scheduled Monument Consent has protected the integrity of the site but not assured its accessibility. See: John Schofield and Cath Maloney, eds, Archaeology in the City of London, 1907– 1991: A Guide to Records of Excavations by the Museum of London and its Predecessors. The Archaeological Gazetteer Series, vol. 1 (London: Museum of London, 1998). 2. On the most immediate level, ‘the knotty broadening’ of the broken nose recalls Richmond’s portrait, revealed over 100 pages earlier, just as ‘American’ recalls Richmond’s own country of birth and ‘whiteness’ draws attention to the racial divide that yet separates these two analogically related characters. The ‘too American whiteness’ of Will’s tooth is surely less about the American mania for orthodontia than it is concerned with restaging an image estab- lished earlier in the text. 3. The classicism of the Corinthian Club, in both name and design, speaks in many ways to Will’s understanding and recording of the rampant sexuality he observes within the club. While the name of the club evokes a world of classical aesthetics embodied by the highly wrought Corinthian columns that punctuate Roman architecture, the club’s more often used nickname – ‘the Corry’ – is suggestive of the much rougher working space of a stone quarry. Yet these two implications are not wholly disjointed: flamboyant Corinthian capitals, of course, began life as raw material in a quarry. The only problem is that the visible institutionalization of sexual activity between men and free- born adolescent boys in archaic Greek culture would be negatively regarded by the later Romans as stuprum, a construction that Craig Williams defines as the ‘violation of the sexual integrity of freeborn Romans of either sex’. See: Roman Homosexuality: Ideologies of Masculinity in Classical Antiquity (Oxford University Press, 1999), p. 96. 4. Helpful accounts of the Akhenaten legend include: Donald B. Redford, Akhenaten: The Heretic King (Princeton University Press, 1984); Cyril Aldred, Akhenaten: King of Egypt (London: Thames & Hudson, 1991); Nicholas Reeves, Akhenaten: Egypt’s False Prophet (London: Thames & Hudson, 2001). 5. That Jarman and Glass each take different, non- standard spellings of the phar- aoh’s name is an intriguing point, and one which I will address in greater detail below. For matters of clarity and consistency, I prefer the standard spelling, Akhenaten, when discussing the ‘historical’ figure. When referring to the title character of Jarman’s film and Glass’s opera, I will use the spelling given by the author. 6. Henry James, The Wings of the Dove (1902; repr. New York: Norton, 2003), p. 137. 7. ‘Yeah, I like the way he’s got him yawning,’ Leo Charles says of the reproduc- tion Holman Hunt painting hanging above him in his mother’s dining room. ‘He stretched his own arms out and up and tilted his head with a yawn that was just like the Lord Jesus except that he was holding an ice- cream- smeared dessert spoon in his left hand. It was the kind of camp you see sometimes in observant children’ (LB 162). 8. James, Wings, p. 139. 9. Dominic Montserrat, Akhenaten: History, Fantasy and Ancient Egypt (London: Routledge, 2003), p. 175. Notes to Chapter 2 159

10. E.M. Forster, Howards End (1910; repr. London: Edward Arnold, 1973), p. 69. 11. Brenda Cooper, ‘Snapshots of Postcolonial Masculinities: Alan Hollinghurst’s The Swimming- Pool Library and Ben Okri’s The Famished Road’, The Journal of Commonwealth Literature, 34:1 (1999), 135– 57 (p. 141). 12. Ibid. p. 138. 13. See also: James N. Brown and Patricia M. Sant, ‘Race, Class, and the Homoerotics of The Swimming- Pool Library’, in Postcolonial and Queer Theories: Intersections and Essays, ed. John C. Hawley (London: Greenwood, 2001), pp. 113– 28. 14. Alderson, ‘Desire as Nostalgia’, p. 33. Alderson also notes, in response to such criticism as Cooper’s, that ‘one of the controversial features of The Swimming- Pool Library, indeed, is precisely this sexual objectification of black men in particular, and not only on the part of Beckwith. However, this is done self- consciously by Hollinghurst and therefore carries the potential to disarm criticism, since the novel, it might be claimed, simply acknowl- edges, without at all endorsing, the fact that cotemporary gay culture has participated in what Kobena Mercer has called (in a more specific context) the “ontological reduction” of the black man to his phallus.’ See pp. 32– 3; Alderson quotes from Kobena Mercer, ‘Reading Racial Fetishism: The Photographs of Robert Mapplethorpe’, in Welcome to the Jungle: New Positions in Black Cultural Studies (London: Routledge, 1994), p. 174. 15. Alderson, ‘Desire as Nostalgia’, p. 43. 16. Ross Chambers, ‘Messing Around: Gayness and Loiterature in Alan Hollinghurst’s The Swimming- Pool Library’, in Textuality and Sexuality: Reading Theories and Practices, ed. Judith Still and Michael Worton (Manchester University Press, 1993), pp. 207– 17 (p. 207). In a 1994 interview for Melbourne’s The Age, Hollinghurst himself uses the portmanteau ‘loitera- ture’, perhaps suggesting that he is a reader of, at least the earliest, academic criticism surrounding his work. However, he uses the term in a slightly different way, using it to refer to the languorous process through which he writes. See: E. Jane Dickson, ‘Loitering with Intent’, The Age (Melbourne, Australia), Saturday Extra, Writers’ Tales, 11 June 1994, p. 7. 17. That Arthur, at 17 years old, is the same age as Tutankhamen at his death and has lived the length of Akhenaten’s short reign, perhaps suggest that he will, indeed, never be old, and will die young, as an early victim of AIDS. 18. Waugh, Brideshead, p. 90. 19. L.P. Hartley, The Go- Between (1953; repr. New York: NYRB, 2002), p. 17. 20. Waugh, Brideshead, p. 225. 21. J. Stephen Murphy, ‘Past Irony: Trauma and the Historical Turn in Fragments and The Swimming- Pool Library’, Literature and History, 13:1 (2004), 58– 75 (p. 66). 22. Ibid. p. 71. 23. From an unpublished diary, quoted in Tony Peake, Derek Jarman (London: Abacus, 1999), p. 421. Although Hollinghurst and Jarman were never part of the same creative community, and likely never met, the influential associa- tion between the two is clear enough. Both attended the exclusive private secondary school Canford, which may have been enough, if not even for their shared interest in articulating the confines of contemporary gay cul- ture, to lead them to one another’s work. 24. Peake, Derek Jarman, p. 226. 25. Ibid. p. 545. 160 Notes to Chapter 2

26. Ibid. p. 226. 27. Derek Jarman, Up in the Air: Collected Film Scripts (London: Vintage, 1996), p. 33. 28. William Pencak, The Films of Derek Jarman (London: McFarland, 2002), p. 22. 29. Jarman, Up in the Air, p. 13. 30. Jacqueline Foertsch, ‘Angels in Epidemic: Women as “Negatives” in Recent AIDS Literature’, South Central Review, 16:1 (1999), 57– 72 (p. 58). 31. Tzvetan Todorov, The Poetics of Prose, trans. Richard Howard (Ithaca: Cornell University Press, 1977), p. 65. 32. Eve Kosofsky Sedgwick, Touching Feeling: Affect, Pedagogy, Performativity (London: Duke University Press, 2003), p. 39. 33. Ibid. p. 43. 34. Ibid. p. 44. 35. Jarman, Up in the Air, pp. 3– 4. 36. Bloom, Anxiety, p. 5. 37. Leo Bersani and Ulysse Dutoit, Caravaggio (London: British Film Institute, 1999), p. 78. 38. Tracy Biga, ‘The Principle of Non- Narration in the Films of Derek Jarman’, in By Angels Driven: The Films of Derek Jarman, ed. Chris Lippard (Trowbridge: Flicks Books, 1996), pp. 12– 30 (p. 12). 39. Jarman, Up in the Air, p. 40. 40. Incidentally, this passage begins the extract from The Swimming- Pool Library which has been anthologized in the popular UK university textbook The English Studies Book. The quotation comes in a section titled ‘“I”dentities in play – selves and others’, and is used to encourage students to think about the portrayal of identity and sexuality in fiction. See: Rob Pope, The English Studies Book: Introduction to Language, Literature and Culture, 2nd edn (London: Routledge, 2002), p. 346. 41. Cooper, ‘Snapshots’, p. 138. 42. Sinfield, ‘Culture’, p. 97. 43. Intriguingly, the only other significant literary use of the spelling ‘Akhnaten’ appears in Vladimir Nabokov’s Lolita (1954): ‘Here is Virgil who could the nymphet sing in single tone, but probably preferred a lad’s perineum. Here are two of King Akhnaten’s and Queen Nefertiti’s pre- nubile Nile daughters (that royal couple had a litter of six).’ The Annotated Lolita, ed. Alfred Appel (New York: Vintage, 1954), p. 19. 44. In Herman Melville’s novella, Billy Budd, Claggart, Melville’s sinister master- at- arms, is seen as ‘defective or abnormal’ for his paleness. Like Charles Nantwich, he inhabits a world completely devoid of the sun. Not only does his position below decks, his ‘official seclusion’, remove him from the world of the titular foretopman Billy, but it is taken by the narrative as a failure in his ‘constitution and blood’. His obsessive, weird admiration of Billy somehow is mirrored by his paleness, by his lack of the sun, and of the son. It is at this performance of Britten’s Billy Budd that the superficial charac- ter Professor Barton Maggs is brought forth for what seems to be the sole purpose of providing a wry metatextual commentary on the lack of female figures in The Swimming- Pool Library: ‘Oh dear – it’s funny, isn’t it, I always think how funny, there not being any women in it,’ he says of Billy Budd, ‘Some people claim not to notice’ (SPL 121). See: Herman Melville, Billy Budd, Sailor and Other Stories (1924; repr. London: Penguin, 1985), p. 342. Notes to Chapter 2 161

45. Although Einstein on the Beach (1976), Satyagraha (1980), and Akhnaten (1984) are customarily referred to as the ‘Portrait Trilogy’, Glass admits that the grouping of these works came only later (see: Philip Glass, Music by Philip Glass, ed. Robert T. Jones [New York: Harper & Row, 1987], p. 136). Keith Potter has suggested that this grouping was ‘commercially conceived as well as retrospective’, thus offering a series of potential demands and rewards to those opera companies able to mount such a challenging series. See: Keith Potter, Four Musical Minimalists: Le Monte Young, Terry Riley, Steve Reich, Philip Glass (Cambridge University Press, 2000), p. 324. 46. Montserrat, Akhenaten, p. 176. 47. Tim Page, ‘Philip Glass’, in Writings on Glass: Essays, Interviews, Criticism, ed. Richard Kostelanetz (New York: Schirmer, 1997), pp. 3– 11 (p. 7). 48. Glass, Music, pp. 165– 6. 49. Jarman, Up in the Air, p. 3. 50. ‘Interview with Philip Glass’, in Writings on Glass: Essays, Interviews, Criticism, ed. Richard Kostelanetz (New York: Schirmer, 1997), pp. 193– 208 (p. 196). 51. Jarman, Up in the Air, p. 40. 52. Glass, Music, p. 184. 53. Alan Gardiner, ‘The So- Called Tomb of Queen Tiye’, The Journal of Egyptian Archaeology, 43 (1957), 10– 25 (pp. 19– 20). 54. Ibid. p. 20. 55. This resemblance between the hieroglyphs for ‘brother’ and ‘beloved’ is perhaps coyly suggested later during a game of Scrabble in The Spell, when, for the dyslexic Justin, ‘certain words were liable to slippage: shopfitter, for instance, he always saw as shoplifter, and topics as optics, and betrothal as brother’ (S 44; my emphasis). 56. Reeves, Akhenaten, pp. 150– 1. 57. Glass refers elsewhere (see: Glass, Music, p. 156) to Nefertiti as a mezzo- soprano, but the libretto lists the role as the lower, richer register. 58. Ibid. 59. Wayne Koestenbaum, The Queen’s Throat: Opera, Homosexuality and the Mystery of Desire (London: Penguin, 1993). 60. Jarman, Up in the Air, p. 5. 61. Ibid. 62. Glass, Music, p. 16. 63. Ibid. pp. 137– 8. Incidentally, in his account of this text, Glass records the title as Oedipus and Aknaten, even though Velikovsky uses the now anti- quated spelling ‘Akhnaton’. 64. Immanuel Velikovsky, Oedipus and Akhnaton: Myth and History (1960; repr. London: Abacus, 1982), pp. xi– xii. 65. Glass, Music, p. 140. 66. Philip Glass, Akhnaten: An Opera in Three Acts (New York: Dunvagen Music, 1984), p. 11. 67. Glass, Music, p. 157. 68. Sigmund Freud, Moses and Monotheism, trans. Katherine Jones (London: Hogarth Press and Institute of Psycho- analysis, 1940), p. 42. 69. Ibid. pp. 18– 22. 70. Bloom, Anxiety, p. 95. 71. Ibid. p. 14. 162 Notes to Chapter 3

72. Sigmund Freud, ‘Family Romances’, in The Freud Reader, ed. Peter Gay (London: Vintage, 1995), pp. 297– 300 (p. 299). 73. But as Rachel Bowlby points out, Freud ‘does not consider a possible posh boy’s downwards daydream of originating from nowhere – or slumming it’. It is precisely this drive which Hollinghurst will explore in The Swimming- Pool Library. See: Rachel Bowlby, Freudian Mythologies: Greek Tragedy and Modern Identities (Oxford University Press, 2007), p. 9. 74. Richard Dellamora, Apocalyptic Overtures: Sexual Politics and the Sense of an Ending (New Brunswick: Rutgers University Press, 1994), p. 173. 75. Alderson, ‘Desire as Nostalgia’, pp. 29– 48. 76. Bristow, Effeminate England, p. 172. 77. D.A. Miller draws a crucial distinction between what he sees as two stylistic tasks: the ‘style’ that is suggestive of ‘an obvious personal project’, and the ‘Absolute Style’ which finds an impersonality in the author. It is ‘that cool, com- pressed adequation of language to whatever it wants to say’. See: D.A. Miller, Jane Austen, or the Secret of Style (Princeton University Press, 2003), pp. 23, 96.

3 The Poets of Our Time: Lateness and Pedagogical Influence in The Folding Star

1. Gordon McMullan, Shakespeare and the Idea of Late Writing: Authorship in the Proximity of Death (Cambridge University Press, 2007), p. 5. 2. Alderson, ‘Desire as Nostalgia’, p. 38. 3. Edward Said, On Late Style: Music and Literature Against the Grain (London: Bloomsbury, 2007), pp. 149– 50. 4. That Britten is so regularly connected to this trope of pedagogical eros has not gone unnoticed. On biographical and artistic issues surrounding peder- asty, and particularly Britten’s use of the young male voice, see: John Bridcut, Britten’s Children (London: Faber and Faber, 2007). 5. And it is perhaps not insignificant that it is only in the least pedagogically minded of these works in which the older man dies: Death in Venice. Though we might also consider Tom Ford’s 2009 film adaptation of A Single Man, which ends, unlike Isherwood’s novella, with the death of Professor George Falconer. What this perhaps achieves cinematically is a potent visualization of the otherwise unfilmable present- tense narration of the story. 6. Edelman, No Future, p. 45. 7. On Sade’s oeuvre as ‘a meditation on teaching’ motivated by ‘the drive to “teach someone a lesson”’, see: Jane Gallop, ‘The Immoral Teachers’, Yale French Studies: The Pedagogical Imperative: Teaching as a Literary Genre, 63 (1982), 117– 28 (p. 117). 8. Edelman, No Future, p. 16. 9. Michael Moon has considered the impact of deaths in three works which each engage in a parable of pedagogical eros: James’s ‘The Pupil’, Kenneth Anger’s Scorpio Rising (1964) and David Lynch’s Blue Velvet (1986). For Moon, these nar- ratives ‘draw much of [their] considerable uncanny energies from representing heavily ritualized performances of some substantial part of the whole round of “perverse” desires and fantasies, autoerotic, homoerotic, voyeuristic, exhibition- istic, incestuous, fetishistic, and sadomasochistic’. See: Moon, A Small Boy, p. 15. Notes to Chapter 3 163

10. Said, On Late Style, p. 13. 11. Ibid. p. 17. 12. Ibid. p. 149. 13. Kate Millett, Sexual Politics (1970; repr. Urbana: University of Illinois Press, 2000), p. 146. When asked about the influence of Charlotte Brontë’s Villette in his work, ‘Hollinghurst is keeping mum on this, citing instead the strong- throated sybils and eerie eroticism of the Flemish Symbolist painter Fernand Khnopff as his inspiration.’ See: Dickson, ‘Loitering with Intent’. 14. In his 2005 introduction to Bruges- la- Morte Hollinghurst turns to Henry James in order to unpack the novella for both his reader and, perhaps, himself: ‘At times Bruges- la- Morte seems to align itself with a vein of modern psychological fantasy, as a study in obsession and self- delusion, and like Henry James’s “The Turn of the Screw” admits of an alternative reading, in which the uncanny similarity of Jane to the dead wife is not offered as a fact but as a fatal delusion of Hugues himself, a projection of psychosexual need.’ See: Alan Hollinghurst, Introduction to Georges Rodenbach, Bruges- la- Morte (Sawtry: Dedalus, 2009), p. 18. 15. Said, On Late Style, p. 13. 16. Bloom, Map, p. 19. 17. Moon, A Small Boy, p. 26. 18. Lynda Zwinger, ‘Bodies that Don’t Matter: The Queering of “Henry James”’, Modern Fiction Studies, 41:3/4 (1995), 657– 80 (p. 660). 19. See: Sedgwick, Touching, p. 60. 20. Moon, A Small Boy, p. 26. 21. Ibid. p. 27. 22. Henry James, ‘The Pupil’, in The Tales of Henry James, ed. Christof Wegelin and Henry B. Wonham (New York: Norton, 2003), pp. 133– 72 (p. 140). 23. John R. Bradley, Henry James’s Permanent Adolescence (Basingstoke: Palgrave, 2000), p. 123. 24. Gallop, ‘The Immoral Teachers’, p. 118. 25. Bradley, Permanent Adolescence, p. 134. 26. Henry James, Notes of a Son and Brother (New York: Scribner’s, 1924), p. 298. For discussions of the possible sexual connotations of the ‘obscure hurt’, see, among others: Paul John Eakin, ‘Henry James’s “Obscure Hurt”: Can Autobiography Serve Biography?’, New Literary History, 19:3 (1988), 675– 92; Ruth Perry, ‘Henry James’s Sexuality and His Obscure Hurt’, International Journal of Social Psychiatry, 24 (1978), 33– 7. 27. J.R. de S. Honey, Tom Brown’s Universe: The Development of the Victorian Public School (London: Millington, 1977), p. 172. 28. Angela Moger, ‘That Obscure Object of Narrative’, Yale French Studies: The Pedagogical Imperative: Teaching as a Literary Genre, 63 (1982), 129– 38 (p. 136). 29. Bradley, Permanent Adolescence, p. 135. 30. Stead, ‘ Self- Translation’, pp. 361– 2. 31. As Hollinghurst describes in his introduction to Bruges- la- Morte, ‘the inher- ent paradox of the Symbolist novel [is] how is the inwardness, the fatalistic paralysis of Symbolist art to be wedded to the demands of the narrative?’ Hollinghurst, Introduction, p. 16. 32. Ovid, Metamorphoses, vol. 1, trans. Frank Justus Miller (London: William Heinemann, 1984), p. 149. 164 Notes to Chapter 4

33. Ibid. 34. Ibid. p. 153. 35. Ibid. p. 157. 36. John Elsner, ‘Naturalism and the Erotics of the Gaze: Imitations of Narcissus’, in Sexuality in Ancient Art, ed. Natalie Boymer Kampen (Cambridge University Press, 1996), p. 255. 37. Gregory Woods, Articulate Flesh: Male Homo- eroticism and Modern Poetry (London: Yale University Press, 1987), p. 19. 38. Elsner, ‘Naturalism’, p. 249. 39. Helen Birch, ‘Naked Prefect’s Idle Beauty: The Folding Star’, Independent, 11 June 1994, p. 27. 40. Alderson, ‘Desire as Nostalgia’, p. 43. 41. Although Will Beckwith and Nick Guest are observing the early 1980s from radically different sexual and socio- economic perspectives, the tone and nature of their observations of the world are markedly similar. It is, then, not insignificant that The Line of Beauty features a narrative apparatus that focalizes Nick so tightly at its centre that the text becomes an approximation of self- narration. 42. Birch, ‘Naked Prefect’s Idle Beauty’, p. 27. 43. Freud, ‘On Narcissism’, in The Freud Reader, ed. Peter Gay (London: Vintage, 1995), p. 73. 44. Ibid. p. 88. 45. Ibid. p. 89. 46. Ibid. p. 94. 47. Ibid. 48. James, ‘The Pupil’, p. 155. 49. Woods, Articulate Flesh, p. 22. 50. Stead, ‘ Self- Translation’, pp. 362– 3. 51. Khnopff began work on the image for the frontispiece of a collection of poetry written by his friend, the Symbolist poet Gregoire Le Roy, who is named in the first clause of the title. Indicating a form of titular dedication in this way is not unusual in Khnopff’s work, and ‘the intention was to dem- onstrate that this route was not one he had taken alone, but together with the poet, and that they both experienced the same spirituality’. See: Fernand Khnopff (Brussels: Royal Museums of Fine Arts of Belgium, 2004), p. 220. 52. On classical and Romantic theories of literary invention and, particularly, on the unsettled association between literary art and mirrored reflection, see M.H. Abrams’s classic study: The Mirror and the Lamp: Romantic Theory and the Critical Tradition (Oxford University Press, 1953), chs 2 and 7– 9.

4 Almost Always: Influence, Ecstasy, and Architectural Imagination in The Spell

1. Alderson, ‘Desire as Nostalgia’, p. 44. 2. In an interview with the San Francisco Chronicle, Hollinghurst spoke about his lifelong fascination with architecture: ‘As a child I wanted to be an archi- tect and was always designing enormous country houses. So we went around a lot and looked a lot in that sort of improving, middle- class way, when we Notes to Chapter 4 165

were on holiday we would always go and look at castles and churches and country houses, which I still do, indeed.’ Edward Guthmann, ‘From Literary Underdog to Prestigious Prize Winner, a Soft- spoken Hollinghurst Takes it in Stride’, San Francisco Chronicle, Daily Datebook, 22 October 2004, p. E1. 3. Gregory Woods, ‘Queer London in Literature’, Changing English, 14:3 (2007), 257– 70 (p. 260). 4. Ibid. 5. MDMA first emerged as a recreational drug in America in the 1960s, but had, however, been synthesized by a German pharmaceutical company as early as 1912. See: Sadie Plant, Writing on Drugs (London: Faber, 1999), p. 165; Jerome Beck and Marsha Rosenbaum, Pursuit of Ecstasy: The MDMA Experience (Albany: State University of New York Press, 1994), p. 13. 6. Leslie Ledoc, Public Affairs Coordinator, The Corporation of Yaddo, in a personal email dated 9 February 2009. A later stay at Yaddo, from 1 February to 15 March 2002, would ultimately contribute to The Line of Beauty. Hollinghurst acknowledges his indebtedness to the colony with identical dedications in both novels: ‘I am very grateful for the hospitality of Yaddo, where part of this novel was written.’ 7. The pasts and presents of the novel are guided by a certain mathematical precision of proportion and symmetry, which more than amply reflects the architectural obsession of the narrative. Robin is 23 when Danny is con- ceived, making him, therefore, 46 at Danny’s own twenty- third birthday party. Justin’s outstandingly tall ex- boyfriend Alex is 36 (a balanced decade younger than Robin), which would have made him 25 in 1984, a pivotal year in his life and the last time he had ‘really been out’ on the club scene (S 117). Twenty- three, 25, and 1984 are numbers which carry significant weight throughout Hollinghurst’s writing. ‘Twenty- three’, Danny replies when Justin asks him how old he will be on his birthday. ‘What have I done with my life?’ (S 49). And when Alex has begun dating the mysterious char- acter of Nick at the end of the novel, one might note that this Nick is very likely the same age as Nick Guest would be in the early 1990s. 8. Roland Barthes, The Neutral, trans. Rosalind E. Krauss and Denis Hollier, ed. Thomas Clerc and Eric Marty (New York: Columbia University Press, 2005), pp. 6– 7. 9. Ibid. pp. 48– 9. 10. Ibid. p. 96. 11. Flannery, ‘Apostrophe’. 12. Alan Hollinghurst, ‘A Little Night Reading: What Alan Hollinghurst Has on his Bedside Table’, Sunday Times, 4 April 2004. Hollinghurst was reading Powell’s biography of Crabbe for a review that would be published in the Guardian three weeks later. But, there, he seems hardly convinced that the work is ‘admirable’: ‘The context is often thin, too, so that, for instance, the fascinating weeks Crabbe spent as a widower in the literary high society of London (which might almost make for a whole book by a writer such as Alethea Hayter) rush past […] It feels as if Powell has got the subject up, rather than having it in his blood.’ See: Alan Hollinghurst, ‘Claws out for Crabbe’, Guardian, 24 April 2004, p. 14. 13. Alain de Botton has recently suggested that a successful dictionary of archi- tecture ‘would expound on the expressive implications of every element in 166 Notes to Chapter 4

architectural composition’. See: Alain de Botton, The Architecture of Happiness (London: Penguin, 2006), p. 97. 14. Letissier, ‘Queer’, pp. 207– 8. The Spell is Hollinghurst’s only novel not to be addressed by Letissier. 15. Nikolaus Pevsner and John Newman, The Buildings of England: Dorset (London: Penguin, 1972), p. 126. Pevsner’s entry on Canford Manor contin- ues at length in a similar style (pp. 126– 9). 16. Alethea Hayter, Opium and the Romantic Imagination (London: Faber & Faber, 1968), p. 67. 17. Ibid. 18. Marilyn Butler briefly explores the role of dreams and domestic space in the Romantic imagination, but does not pose the correlation between opium use. See: Marilyn Butler, Romantics, Rebels and Reactionaries: English Literature and its Background 1760– 1830 (Oxford University Press, 1981), p. 20. 19. Hayter, Opium, p. 89. 20. Ibid. p. 337. 21. Ibid. p. 234. Elsewhere Hayter argues that ‘as addiction grows on the opium eater, his visionary palace closes round him. At first, perhaps, he sees it from the outside, glittering across a wide landscape, a “sunny pleasure- dome with caves of ice” or that “pop of cities and palaces” that De Quincey enjoyed in the early stages of his addiction. It was only later that these huge architec- tural splendours of his turned into the secret rooms and coffin- pinnacles of pagodas, the narrow chambers buried in the heart of pyramids’ (p. 97). 22. Marcus Boon, The Road of Excess: A History of Writers on Drugs (London: Harvard University Press, 2002), p. 4. 23. Hayter, Opium, p. 84. 24. Harold Bloom, Figures of Capable Imagination (New York: Seabury, 1976), p. 2. 25. Ibid. p. 14. 26. Eve Kosofsky Sedgwick, Epistemology of the Closet (Berkeley: University of California Press, 1991), p. 172. 27. Eve Kosofsky Sedgwick, ‘Epidemics of the Will’, in Incorporations, ed. Jonathan Crary and Sanford Kwinter (New York: Zone, 1992), pp. 582– 94 (p. 591). 28. In one of his most knowing turns, Hollinghurst gives the name of Mr Croy to the proprietor of a private gay sex club in The Folding Star. ‘The thought of those wild afternoons had me catching my breath to find I already had such epochs in me,’ Edward remembers of his visits to Mr Croy’s when he was 20, ‘and that I could look back through the drizzle of wasted time to arcadian clearings, remote and full of light and life’ (FS 83). 29. OED. 30. Elaine Scarry, Dreaming by the Book (Princeton University Press, 1999), p. 34. 31. Ibid. p. 3. 32. Ibid. p. 4. 33. Ibid. p. 12. 34. Victoria Rosner, Modernism and the Architecture of Private Life (New York: Columbia University Press, 2005), p. 2. 35. Waugh, Brideshead, p. 38. 36. Sabine Durrant, ‘The Monday Interview: Alan Hollinghurst’, Guardian, 22 June 1998, p. 4. Notes to Chapter 5 167

37. Plant, Writing on Drugs, p. 165. 38. Matthew Collin, Altered State: The Story of Ecstasy Culture and Acid House (London: Serpent’s Tail, 1997), p. 42. 39. Sigmund Freud, ‘An Autobiographical Study’, in The Freud Reader, ed. Peter Gay (London: Vintage, 1995), pp. 3– 41 (p. 17). 40. Ibid. 41. Richard S. Cohen, The Love Drug: Marching to the Beat of Ecstasy (Binghamton, NY: Haworth Medical Press, 1998), p. 45. 42. Plant, Writing on Drugs, p. 165. 43. Cohen, Love Drug, p. 45. 44. Plant, Writing on Drugs, p. 167. 45. Jerome Beck and Marsha Rosenbaum, Pursuit of Ecstasy: The MDMA Experience (Albany: State University of New York Press, 1994), pp. 66– 73. 46. Hillegonda Rietveld, ‘Living the Dream’, in Rave Off: Politics and Deviance in Contemporary Youth Culture, ed. Steve Redhead (Aldershot: Avebury, 1993), pp. 45– 6. 47. Emma Liggins, ‘Alan Hollinghurst and Metropolitan Gay Identities’, in Posting the Male: Masculinities in Post- war and Contemporary British Literature, ed. Daniel Lea and Berthold Schoene (Amsterdam: Rodopi, 2003), pp. 159– 70 (pp. 159– 60). 48. Ibid. p. 167. 49. Ibid. p. 166. 50. Ibid. p. 165. 51. Ibid. p. 165. 52. Plant, Writing on Drugs, p. 167. 53. Ibid.

5 Spitting Images: Image, Text, and the Popular Press in The Line of Beauty

1. Although Peter Crowther is given a place of honour at the opening of the novel, he is, even among the widely cast network of family friends and politicians who serve in small yet decisive capacities throughout the novel, quite insignificant. The frequency with which he is referred to only by his sobriquet – ‘the mordant analyst’ – is suggestive of precisely how undercoded he is as a character. 2. See: Sally Ledger, ‘Wilde Women and The Yellow Book: The Sexual Politics of Aestheticism and Decadence’, English Literature in Translation, 50:1 (2007), 5– 25; and Linda K. Hughes, ‘Women Poets and Contested Spaces in The Yellow Book’, Studies in English Literature, 44:4 (2004), 849– 72. 3. For a thorough publishing history of the Bodley Head and a treatment of its vital relationship to the Decadent movement in Britain, see: James G. Nelson, The Early Nineties: A View from the Bodley Head (Cambridge, Mass.: Harvard University Press, 1971). 4. Matthew Rubery, The Novelty of Newspapers: Victorian Fiction after the Invention of the News (Oxford University Press, 2009). 5. Fanny Mayne, ‘The Literature of the Working Classes’, Englishwoman’s Magazine, and Christian Mother’s Miscellany (October 1850); repr. John 168 Notes to Chapter 5

Plunkett and Andrew King, eds, Victorian Print Media: A Reader (Oxford University Press, 2006), pp. 40– 3 (p. 40). 6. Edward Salmon, ‘What Girls Read’, Nineteenth Century (1886); repr. John Plunkett and Andrew King, eds, Victorian Print Media: A Reader (Oxford University Press, 2006), pp. 68– 72 (p. 70). 7. Fraser Harrison, ed., The Yellow Book: An Anthology (London: Sidgwick & Jackson, 1974), p. 5. 8. Jonathan Freedman, Professions of Taste: Henry James, British Aestheticism, and Commodity Culture (Stanford University Press, 1990), p. 18. 9. Eastham briefly discusses The Yellow Book, and identifies it as ‘one of the likely prototypes for Ogee’. See: Andrew Eastham, ‘Inoperative Ironies: Jamesian Aestheticism and Post- Modern Culture in Alan Hollinghurst’s The Line of Beauty’, Textual Practice, 20:3 (2006), 509– 22 (p. 511). 10. Richard le Galienne, ‘The Triumph in Yellow’, in Aesthetes and Decadents of the 1890s, ed. Karl Beckson (Chicago: Academy, 1981), pp. 128– 33 (p. 129). 11. Qtd in Nelson, Early Nineties, p. 298. 12. Harrison, Yellow Book, p. 12; Ledger, ‘Wilde Women’, p. 5. 13. Rivkin, ‘Writing the Gay ’80s’, p. 290. 14. Henry James, Letters, vol. III, ed. Leon Edel (Cambridge, Mass.: Harvard University Press, 1980), p. 482. Three days earlier James had a very different outlook on ‘The Coxon Fund’. In a letter to William James dated 25 May 1894, he wrote that he had ‘promised a splendid work of art, in London, for the second number of the Yellow Book. I had to fight for every hour to finish it by the promised date. Three quarters of an hour ago I posted, in this place, the last of the covenanted 25,000 words to London.’ Letters, III, p. 477. 15. Eastham has argued that James’s desire to remove himself from the aesthetic movement manifests itself through ‘distinguishing his own form of irony from that of the Aesthetes’. See: Eastham, ‘Inoperative Ironies’, p. 511. 16. Ian Fletcher, ‘Decadence and the Little Magazines’, in Decadence and the 1890s, ed. Ian Fletcher (London: Edward Arnold, 1979), pp. 173– 202 (p. 195). 17. Alan Hollinghurst, Introduction to The Ivory Tower (New York: NYRB, 2004), p. xii. 18. Henry James, ‘The Death of the Lion’, The Yellow Book, 1 (1894), p. 12. 19. Ibid. p. 26. 20. Ibid. p. 25. 21. James, ‘Lion’, p. 13. Portions of this passage are quoted by both Percy Lubbock and Hollinghurst when they suggest that this scene in ‘The Death of the Lion’ serves as an eerily precise prophecy of the ‘Notes for The Ivory Tower’, the lengthy summation of James’s intended plans for his incomplete novel. 22. Ibid. pp. 20– 1. 23. Ibid. p. 21. 24. Henry James, The Spoils of Poynton (1897; repr. London: Penguin, 1985), p. 6 25. Ibid. p. 28. 26. For an account of the realization of networks of morality through the ‘per- formative leveling’ of Jamesian style, see: David Kurnick, ‘What Does Jamesian Style Want?’, Henry James Review, 28 (2007), 213– 22. 27. William Bysshe Stein, ‘The Wings of the Dove: James’s Eucharist of Punch’, Centennial Review, 21 (1977), 236– 60 (pp. 238, 242). Notes to Chapter 5 169

28. James, Wings, p. 113. 29. Ibid. p. 99. 30. Stein, ‘Wings’, p. 249. 31. Alan Bennett, Untold Stories (London: Faber and Faber, 2005), p. 499. It is in The Folding Star that an important painting is attributed to the Leeds collection – Reveries by the fictional artist Edgard Orst. 32. Richard Gilman, ‘Reflections of Decadence’, Partisan Review, 46:2 (1979), 175– 87 (p. 175). Coincidentally, this essay appeared in 1979, the same year as The Madwoman in the Attic, and a time when Bloom’s model of influence anxiety was being questioned. 33. Ibid. p. 178. 34. Bloom, Map, p. 19. 35. Richard Ellmann, Oscar Wilde (London: Hamish Hamilton, 1987), chs V– VII. By 1920 the celebrity and scandal of Oscar Wilde was still in recent memory, and Stuart Mason would write: ‘If the serendipitous columns of “Punch” be searched diligently it will be found that about the year 1880 there existed a movement generally referred to as the aesthetic craze, the chief protagonist of which, if not the originator, was supposed to be Oscar Wilde. Persons approach- ing middle age may remember the period. The male members of this school, if we may believe the late George Du Maurier and his imitators, wore sad superflu- ous collars and had “lank limbs and haggard cheeks”.’ See: Stuart Mason, Oscar Wilde and the Aesthetic Movement (1920; repr. New York: Haskell, 1972), p. 1. 36. Alan Pryce- Jones, ‘Put Out More Flags’, New Statesman, 11 April 1942, 245– 6. Reprinted in Evelyn Waugh: The Critical Heritage, ed. Martin Stannard (London: Routledge, 1984), pp. 214– 17. 37. Kate O’Brien, ‘Put Out More Flags’, Spectator, 3 April 1942, 336. Reprinted in Evelyn Waugh: The Critical Heritage, ed. Martin Stannard (London: Routledge, 1984), pp. 213– 14. 38. Jeffrey Heath, The Picturesque Prison: Evelyn Waugh and His Writing (London: Weidenfeld & Nicolson, 1982); William J. Cook, Masks, Modes, and Morals: The Art of Evelyn Waugh (Madison: Fairleigh Dickinson University Press, 1971). 39. Evelyn Waugh, Put Out More Flags (London: Penguin, 2000), pp. 35, 174. 40. Ibid. p. 111. 41. Ibid. p. 186. The title of Ambrose’s story is a fascinating response to an earlier reported detail: while at Oxford, Ambrose recited Tennyson’s In Memoriam through a megaphone ‘to an accompaniment hummed on combs and tissue paper’ (p. 43). His recitation of Tennyson’s elegy to Arthur Henry Hallam seems to powerfully portend this later elegy to Hans. With Tennyson’s poem so directly indicated by the text, it becomes difficult not to acknowledge the clear significance of the poem to Ambrose’s short memorializing narrative. 42. Ibid. p. 191. 43. Ibid. pp. 186– 7. 44. Hollinghurst, Introduction to The Ivory Tower, p. xv. 45. Henry James, The Ivory Tower (New York: NYRB, 2004), p. 110. 46. Ibid. p. 109. 47. Hollinghurst, Introduction to The Ivory Tower, p. xv. 48. Ibid. p. vii. 49. Percy Lubbock, Preface to Henry James, The Ivory Tower (New York: NYRB, 2004), p. xix. 170 Notes to Chapter 6

50. Waugh, Flags, p. 113. 51. Wilde, Picture, p. 25.

6 The Latterday Sortes Virgilianae: Confirmation Bias and the Image of the Poet in The Stranger’s Child

1. Bristow, Effeminate England, pp. 174– 5. 2. Jonathan Baron, Rationality and Intelligence (Cambridge University Press, 1985), p. 132. 3. Raymond Nickerson, ‘Confirmation Bias: A Ubiquitous Phenomenon in Many Guises’, Review of General Psychology, 2:2 (1998), pp. 175– 220 (p. 180). 4. Juliet Nicolson, The Great Silence: 1918– 1920: Living in the Shadow of the Great War (London: John Murray, 2009), pp. 119– 21. 5. Nickerson, ‘Confirmation Bias’, pp. 175– 6. 6. Bart Eeckhout, ‘English Architectural Landscapes and Metonymy in Hollinghurst’s The Stranger’s Child’, CLCWeb: Comparative Literature and Culture, 14:3 (2012). 7. James, ‘Lion’, p. 33. 8. But, when Lord Kessler shows Nick the library, he notes that ‘the books were apparently less important than their bindings’, and the copy of Anthony Trollope’s The Way We Live Now that Nick examines has uncut and unread pages (LB 51). 9. Ibid. p. 29. 10. On the prevalence of the topic of initiation in gay fiction, see Moon, A Small Boy. 11. Roland Barthes, S/Z, trans. Richard Miller (1970; repr. London: Jonathan Cape, 1975), p. 4. 12. Ibid. 13. Greg Graham- Smith, ‘Sexuality and the Multicursal Maze in Alan Hollinghurst’s The Stranger’s Child’, Scrutiny2: Issues in English Studies in Southern Africa, 17:2 (2012), 7– 12 (p. 7). 14. Linda Hutcheon, A Theory of Parody: The Teachings of Twentieth- Century Art Forms (London: Methuen, 1985), p. 1. 15. Ibid. p. 2. 16. Graham- Smith, ‘Sexuality’, p. 10. 17. Giulio Carlo Argan, ‘Ideology and Iconology’, trans. Rebecca West, in The Language of Images, ed. W.J.T. Mitchell (University of Chicago Press, 1974), pp. 15– 24 (p. 17). 18. Graham- Smith, ‘Sexuality’, p. 10. 19. Richard Gill, Happy Rural Seat: The English Country House and the Literary Imagination (New Haven: Yale University Press, 1972), p. 17. 20. Glen Cavaliero, A Reading of E.M. Forster (London: Macmillan, 1979), p. 105. 21. Eeckhout, ‘English Architectural’. 22. Ibid. 23. Margaret Matlin and David Stang, The Pollyanna Principle: Selectivity in Language, Memory, and Thought (Cambridge, Mass.: Schenkman, 1978), p. 3. 24. Love, Feeling Backward, p. 2. 25. Roland Barthes, ‘The Death of the Author’, in The Norton Anthology of Theory and Criticism, ed. Vincent Leitch (London: Norton, 2001), pp. 1466– 70 (p. 1466). Notes to Conclusion 171

26. Gilbert Hartman, Changes in View: Principles of Reasoning (London: MIT Press, 1986), p. 7. 27. Barthes, ‘The Death of the Author’, p. 1466. 28. David Gross, Lost Time: On Remembering and Forgetting in Late Modern Culture (Amherst: University of Massachusetts Press, 2000), p. 13.

Conclusion

1. Guthmann, ‘From Literary Underdog to Prestigious Prize Winner’, p. E1. 2. Dickson, ‘Loitering with Intent’, p. 7. 3. Philip Gambone, ‘Alan Hollinghurst’, in Something Inside: Conversations with Gay Fiction Writers (Madison: University of Wisconsin Press, 1999), pp. 231– 46 (p. 244). 4. Dickson, ‘Loitering with Intent’, p. 7. 5. Edmund White, ‘The Spell by Alan Hollinghurst’, Guardian, 27 June 1998, p. 10. 6. Mark Bostridge, ‘Jane Austen on Ecstasy’, Independent, 5 July 1998, p. 28. 7. David Weigand, ‘Blinded by Lust’, San Francisco Chronicle, Sunday Review, 13 June 1999, p. 3. 8. Not inconsequentially, these two features were not articulated in earlier reviews. Mark Sanderson’s review for The Evening Standard and Alan Stewart’s review for The Times (both published before White’s) make no mention of either the spectral influence of Austen or the enactment of Feydeauian sexual antics. 9. Roger Durbin, ‘The Spell’, Library Journal, 15 April 1999, p. 143. 10. John Updike, ‘A Same- Sex Idyll’, The New Yorker, 31 May 1999, p. 113. 11. Carl Swanson, ‘Tony Kushner and Other Gay Writers Criticize a John Updike Review’, New York Observer, Media & Society, June 1999. 12. Updike, ‘A Same- Sex Idyll’, p. 113. 13. Eastham, ‘Inoperative Ironies’, p. 160. 14. In fact, indifferent to the kind of publishing schedule that generates noto- riety and fame, Hollinghurst has never been held in the same regard by the academy as other contemporary writers of similar merit. At the time of writing, I count only 16 academic articles or book chapters that take Hollinghurst as their primary, or at least secondary, concern. Of these, three read The Line of Beauty alongside Henry James (Flannery, Hannah, Rivkin), three engage with The Swimming- Pool Library through postcolonialist meth- odologies (Brown, Cooper, Dukes), and six have been written by current or former staff of the University of Leeds (Flannery, Grimshaw, Hannah, Liggins, Stead, and myself). By comparison, Zadie Smith’s first three novels – all published rapidly between 2000 and 2005 – have engendered not only a 13- chapter edited collection published in 2008, but also a vast body of shorter journal articles. Bibliography

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Adorno, Theodor 63, 66 Christie, Agatha 50 aestheticism 7–8, 17–18, 20, 24, 117, cocaine 86, 88, 120 120, 127–8, 130–1 Coleridge, Samuel Taylor 96, 98–9 Akhenaten 6, 31–8, 40, 43, 45, Crabbe, George 64, 93 49–50, 52–3, 55–6, 58–9 Amis, Martin 153 David, Jacques-Louis 45 architecture 59, 75, 85–6, 91, 93–6, Decadence 113, 115, 117–20, 102, 110, 145 126–7 Atenism 37, 56 Dickens, Charles 65, 149 Auden, W.H. 11 Dickinson, Emily 10 Austen, Jane 151–3 drug use 2, 6–7, 84–92, 97–100, 104–7, 152; see also cocaine; Baedeker 93 MDMA; opium Balzac, Honoré de 54 Barthes, Roland 54, 89–90, 140, Ecstasy see MDMA 146–7 Egypt 33, 39, 42, 51, 54–5, 58 Beardsley, Aubrey 113–14, 116–17, ekphrasis 6–7, 115, 122 123, 128, 130, 132 Eliot, T.S. 4, 21, 24 Beckford, William 11, 93, 96 English National Opera 51 Bennett, Alan 124 ephebe 21–2, 24–5, 46, 57, 68, 132 Bergson, Henri 129 biography 3, 8, 93, 120, 134, 138, Firbank, Ronald 11, 39, 75 146–7 Fitzgerald, F. Scott 12 Bloom, Harold 4, 7, 9–10, 12, 17, Forster, E.M. 11, 50, 145, 151 21–5, 46, 56–7, 59, 68, 98–9, 127 Freud, Sigmund 21, 43, 45–6, 50, The Anatomy of Influence 9 55–9, 66, 72, 76, 98, 105 The Anxiety of Influence 9, 21–3, ‘Autobiographical Study’ 105 56–7, 98 ‘Family Romances’ 56 Figures of Capable Imagination 98 Moses and Monotheism 50, 55–6 A Map of Misreading 21, 24, 68 ‘On Narcissism’ 76 Bodley Head 114 Britten, Benjamin 8, 51, 63–4 Gissing, George Billy Budd 51, 64 New Grub Street 119 Death in Venice 13, 63–4 Glass, Philip Peter Grimes 64–5 Akhnaten 6, 33–4, 37, 50–5, 58 Brontë, Charlotte 67 Guare, John Bronzino Six Degrees of Separation 57 The Shadow of Death 34, 123–5 Bruges 64, 67, 77, 79–80 Hardy, Thomas 84 Byatt, A.S. 9 Harland, Henry 116–18, 130 Hartley, L.P. 11, 38–9 camp 26, 51, 54, 75, 125 The Go-Between 38–9 castrato 54 Higgins, Terrence 48

182 Index 183

HIV/AIDS 2, 5, 29, 40–1, 43, 48–9, Mann, Thomas 59–60, 62, 153 Death in Venice 13, 63–6 Hogarth Press 50 Marfan’s disease 33, 53 homosexuality 2, 11, 13, 24, 28, 31, McDonagh, Martin 43, 46, 59, 63, 70–2, 76, 85, 99, In Bruges 67 106, 121, 145–6, McEwan, Ian 9, 153 Huysmans, J.-K. MDMA 84, 86–7, 89–91, 104–7, À rebours 12, 16, 18, 23 109–12, 151 memetics 19 intertextuality 15 memory 6, 8, 10, 39, 88, 134, Ionesco, Eugène 143–4, 146, 148 The Lesson 65 Milton, John 70, 98–100 Isherwood, Christopher mirrors 13–14, 74, 78, 83, 103, 119 Mr Norris Changes Trains 13 Mitford, Nancy A Single Man 65 The Pursuit of Love 16, 18, 20 Moses 45, 50, 55–6, 59 James, Henry 7–8, 11–13, 34, 43–4, Murdoch, Iris 63–4, 65, 69–72, 74–5, 91, 99, The Bell 12 115, 118–24, 128–31, 139 ‘The Aspern Papers’ 120–2, 137 narcissism 49, 75–7 ‘The Coxon Fund’ 118 Narcissus 45, 73–4, 76–7, 80, 83 The Ivory Tower 119, 128–30 naturalism 73 ‘The Next Time’ 118 ‘The Pupil’ 7, 13, 64, 69–71, 76 Oedipus 43, 45, 47, 55, 58–9 A Small Boy and Others 120 Ondaatje, Michael 153 The Spoils of Poynton 121–2 opera 6, 33, 50–6, 60, 63, 84 The Tragic Muse 12 opium 93, 95–100, 105–7, 109–10 The Turn of the Screw 64, 71–2 Orton, Joe 152 The Wings of the Dove 34, 99, Ovid 122–3, 131 The Metamorphoses 73 James, William 99, 118 Jarman, Derek 6, 8, 31, 33, 40, 94 Pasolini, Pier Paolo Akenaten 6, 33, 40–2, 44–55 Salò, or the 120 Days of Sodom 66 Caravaggio 45–6 Pater, Walter 12 Sebastiane 40, 44–5 pedagogy 61–2, 70–1; see also teaching Khnopff, Fernand 79–80 pederasty 70 Kushner, Tony 89, 152 Pevsner, Nikolaus 93–5, 97, 102 Angels in America 89 photography 41, 117 poetry 14, 21–2, 24, 56, 61, 68, 91, late style 4, 7, 62–3, 66, 68, 71, 96–7, 127, 134, 136 81, 83 Powell, Anthony le Galienne, Richard 117 A Dance to the Music of Time 12 Letham, Jonathan 9 Prodigal Son 45 London 2, 7, 31, 38, 51–2, 83, 88, Proust, Marcel 101–2 107–9, 113, 119, 123, 151 psychoanalysis 45–6, 55, 63, 76, 104–5 magazines 115–19, 121, 127–31 psychonarratology 14 Man Booker Prize 10, 62, 150 Punch 123, 127 184 Index

Queer as Folk 106 Updike, John 152

Rodenbach, Georges vitality 4–5, 30, 45, 50, 84, 86, 90, Bruges-la-Morte 67, 79 92, 101–2, 109, 153 Romanticism 21–2, 86, 96, 98–100 Wagner, Richard 50, 67, 150 Rousseau, Jean-Jacques 36 Walpole, Horace 96 Rushdie, Salman 153 Waugh, Alec 118 Waugh, Evelyn 8, 11–12, 16–20, St Sebastian 40 38–9, 57, 69, 102, 150–1 Sargent, John Singer 119 Brideshead Revisited 12, 16–20, sequence 3, 5–6, 8, 14, 24, 27, 30, 38–9, 57, 102, 150–1 32, 35, 63, 68, 76, 79, 82, 123–4, Decline and Fall 69 130, 138, 147–8 Vile Bodies 69 Shakespeare, William 63 Wilde, Oscar 8, 11–12, 22–3, 66, 75, Smith, Zadie 153 99, 117, 121, 127–8 Spark, Muriel The Ballad of Reading Gaol 22 The Prime of Miss Jean Brodie 65 The Picture of Dorian Gray 12, 22–3, spiritualism 135 99, 115 Spitting Image 114–15 The Portrait of Mr W.H. 22 Sterne, Laurence 36 Wolfenden Report 146 Symbolism 63, 73, 79–80, 84 Woolf, Virginia Mrs Dalloway 13 teaching 62, 65–7, 72, 79; Wordsworth, William 68, 70, 82 see also pedagogy World War I 130, 133–5, 137, 142 textual image 5–6, 8, 14, 16, 19–20, World War II 31, 39, 81, 130 30, 33, 50, 58, 72, 93, 95, 100–1, Wright, Frank Lloyd 87, 89 115, 137–9, 142 Thatcher, Margaret 114–15 Yellow Book, The 7, 113, 115–19, Todorov, Tzvetan 43 122–3, 127–8, 131–2