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From Putsch to Purge. a Study of the German Episodes in Richard Hughes's the Human Predicament and Their Sources Holmqvist, Iv From Putsch to Purge. A Study of the German Episodes in Richard Hughes’s The Human Predicament and their Sources Holmqvist, Ivo 2000 Link to publication Citation for published version (APA): Holmqvist, I. (2000). From Putsch to Purge. A Study of the German Episodes in Richard Hughes’s The Human Predicament and their Sources. English Studies. 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LUND UNIVERSITY PO Box 117 221 00 Lund +46 46-222 00 00 Ivo Holmqvist From Putsch to Purge A Study of the German Episodes in Richard Hughes' s The Human Predieament and their Sources Ivo Holmqvist From Putsch to Purge A Study of the German Episodes in Richard Hughes's The Human Predieament and their Sources Lorentz Publishing, Skolgatan 21 S- 241 31 Eslöv, Sweden www.Lorentz.net ivo_ [email protected] Print: Symposion, Eslöv 2000. ISBN 91-972961-8-X For Ingwor, Jytte & Jenny, and A-L in memoriam. FROM PUTSCH TO PURGE A Study of the Gennan Episodes in Richard Hughes's The Human Predieament and their Sources IVO HOLMQVIST I I I I I I I I Contents Acknowledgements ................................... '" . ... 7 Introduction . .. 9 I. Heinrich von Aretin in Bavaria and Goronwy Rees in Prussia 35 II. Ernst von Salomon .................................. 72 III. The Götz Letter 102 IV. August Kubizek 116 V. Ernst Hanfstaengl 130 VI. Helene Hanfstaengl 174 VII. Egon Hanfstaengl 185 VIII. Sir Philip Gibbs 199 IX. Sir John Wheeler-Bennett .......................... 225 X. Elizabeth Wiskemann .......................... 237 XI. William Manchester .......................... 245 XII. Walter Schellenberg .......................... 257 XIII. Kurt G. W. Ludecke .......................... 269 XIV. Otto Strasser 295 XV. Richard Hughes on the German Book Market 310 XVI. The Twelve Chapters and Beyond 330 Conclusian 348 Bibliography 365 Index 373 5 I I I I I I Acknowledgements From its concep,tion during the Blitz, The Human Predieament was elose to thirty-five years in the making. Richard Hughes worked constantly on the project for twenty-one years until his death in 1976. Myadmiration for this roman-fleuve is profound and my reading of it goes far back. While a student at Dartmouth College in 1965 I bought a copy of the first American Edition of The Fox in the Attic , signed by the author. This study has been long under way, though not quite for three de­ cades, and it has been written many times over. During the process, I have felt deep sympathy for Hughes's dogged perseverance at the typewriter while serving what he sometimes felt was an inescapable life sentence. My thanks are due to a large group of people in different parts of the world. Two professors of English at Lund University have been supportive of my protracted efforts. Claes Schaar and Sven Bäckman have been un­ commonly forbearing with a procrastinator. As my supervisor for far too many years, the latter has shown great generosity. Earlier versions of this study have been discussed at different doctorai seminars at Lund and Helsinki. Little remains of these versions, but I am thankful for all good advice freely given by their members. In particular I single out the late Sven Holmberg whose wide-ranging interests made him a good sparring partner during long discussions. Associate Professor Friedrich Voit at the University of Auckland has advised on some of the following chapters, especially those dealing with the German book market. Dr Simon Gilmour of the same Germanic De­ partment has been extremely generous with his time, energy and stylistic suggestions, as have Professor Alan Kirkness and Drs James Braund, Wim Hiisken, and Martin Sutton. Grant in Aid from the University of Auck­ land Research Fund in 1995 and the short leave that its Faculty of Arts granted me in 1997 enabled me to spend the necessary time at The Lilly Li­ brary, Bloomington, Indiana; for this I am grateful. Librarians on three continents have given me much needed assist­ ance: at the university libraries of Lund, Odense and Reading; at Auckland; and at Indiana University. I am grateful for the Visiting Fellowship from the Ball Brother Foundation that William R. Cagle, former head of The Lilly Library, kindly facilitated. To Ms Saundra Taylor, head of its manu­ script division, who helped me in every possible way, I extend my grati­ tude, as I do to Hughes's London publishers Chatto & Windus who gave me access to their archive long before it was transferred to Reading Uni­ versity. In letting me quote from her father's unpublished papers, Mrs. Pe­ nelope Minney, as executrix of Richard Hughes' s literary estate, has shown more kindness than I could ever have hoped for. Without her and her sib­ lings' generosity this study could, quite literally, never have been written in its present form. Foremost: this book is for Ingwor, Jytte and Jenny, with feelings of gratitude beyond all words; and for A-L in memoriam. Auckland, New Zealand, September 1999. 7 Introduction "My most recent book, 'The Fox in the Attic', is about Hitler and Ger­ many." This is how Richard Hughes, interviewed by The New Yorker in 1969, summarised the first volume in his projected series of novels The Human Predieament. Obviously an oversimplification and perhaps in­ tended as a selling line for his American audience eight years after the book had appeared, his summary still contains more than a few grains of truth. The book and its sequel, The Wooden Shepherdess, are indeed novels about Hitler and Germany. Despite the array of other characters and other localities that fill the eight hundred published pages, many readers remember the fictionalised Fiihrer and the Bavarian scenes the best,! The present study of Richard Hughes's sources takes in the main the same lim­ ited view; the non-German characters and chapters are to a large degree deliberately disregarded. To the best of my knowledge, what follows is the first concerted effort to analyse and comment on the intricate relations between Richard Hughes's The Human Predieament project and its sources, as far as its chapters set in Germany or touching on German affairs are concerned. As many of these sources as possible have been listed, after a lengthy search of the two major hol dings of his papers, one of them in America, the other one in England. So far, these archives have attracted remarkably little in­ terest from Hughes scholars. In actual fact, only his biographer, Richard Perceval Graves, seems to have made more consistent use of the larger of the two holdings, the American one, and then with his interest focussed more on the author's life than on his work. Another scholar, Paul Mor­ gan, has made excellent use of the more limited British hol ding. However, neither Morgan nor Graves has consulted both archives, nor has anyone else, as far as I am aware. The German background has not attracted much critical attention either. With the exception of some shorter articles and essays listed below, nothing has been written on the specific topic of Rich­ ard Hughes's two last novels in relation to the sources for their German episodes. 1 Sometirnes they have been encouraged to do so by the publishers. The dust-jacket of the original edition of The Wooden Shepherdess (Chatto & Windus) has Ree, the American teenage girl, in focus, but Hitler's ghostlike face can be seen in the background. The Pen­ guin paperback edition of both novels (1975) displays German military insignia, including eagles and swastikas, prominently ffi their front covers, while the Harvill Press edition of The Wooden Shepherdess (1995), the only one to inc!ude The Twelve Chapters, has Paul Herrmann's heroic Nazi painting "The March of 1942" on its cover. 9 There were many enigmas and paradoxes in the life and work of Rich­ ard Hughes, one of them the great discrepancy between what he wrote and what he eventually published. Not many novelists of his high literary sta­ tus2 have written so few novels; even fewer have produced more manu­ script pages. The staggering amount of his unpublished and discarded ma­ terial is evident only to someone who makes a elose study of his archive. It was bought by the Lilly Library at Indiana University in 1973, with material concerning Hughes's work-in-progress later added. Weil into the next de­ cade it remained unsorted and inaccessible.3 That no longer being the case, it still has not attracted the scholarly attention it deserves. Anyone prepared to engage in that very time-consuming but reward­ ing activity will have her or his views of Hughes as an unproductive and procrastinating writer overturned. The present study relies predominantly on research in the unpublished material held in Bloomington, but it is also based on research into the correspondence between Hughes and his British publishers Chatto & Windus, a collection that is now part of the University of Reading Library.
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