Appendix: The Fiction of John Buchan, Dornford Yates and Angela Thirkell John Buchan date of The Dancing Floor is 1926, not 1927 Only Buchan’s fiction is listed here: volumes of short stories carry an asterisk *. The variant American titles are in parentheses. Sir Quixote of the Moors 1895 John Burnet of Barns 1898 Grey Weather* 1899 A Lost Lady of Old Years 1899 The Half-Hearted 1900 The Mountain [unfinished chapters] 1901 The Watcher by the Threshold* 1902 A Lodge in the Wilderness 1906 Prester John (The Great Diamond Pipe) 1910 The Moon Endureth* 1912 Salute to Adventurers 1915 The Thirty-Nine Steps 1915 The Power-House 1916 Greenmantle 1916 Mr Standfast 1919 The Path of the King* 1921 Huntingtower 1922 Midwinter 1923 The Three Hostages 1924 John Macnab 1925 The Dancing Floor 1926 Witch Wood 1927 The Runagates Club* 1928 The Courts of the Morning 1929 Castle Gay 1930 The Blanket of the Dark 1931 The Gap in the Curtain 1932 The Magic Walking Stick 1933 A Prince of the Captivity 1933 The Free Fishers 1934 The House of the Four Winds 1935 The Island of Sheep (The Man from the Norlands) 1936 Sick Heart River (Mountain Meadow) 1941 The Long Traverse (Lake of Gold) 1941 225 226 Appendix Dornford Yates As with the Buchan list, I have listed here only his books, not the separate publi- cation of his short stories. Nearly all Yates’s short stories were collected and pub- lished in book form after their magazine appearance, and these volumes carry an asterisk *. Titles in parentheses are the variant American titles. The Brother of Daphne* 1914 Eastward Ho! 1919 [a play written with Oscar Asche] The Courts of Idleness* 1920 Berry & Co* 1920 Anthony Lyveden 1921 Jonah & Co 1922 Valerie French 1923 And Five Were Foolish* 1924 As Other Men Are* 1925 The Stolen March 1926 Blind Corner 1927 Perishable Goods 1928 Maiden Stakes* 1928 Blood Royal 1929 Summer Fruit 1929 [a US omnibus edition of Anthony Lyveden and Valerie French] Fire Below (Royal Command) 1930 Adèle & Co, 1931 Safe Custody 1932 Storm Music 1934 She Fell Among Thieves 1935 And Berry Came Too* 1936 She Painted Her Face 1937 This Publican (The Devil in Satin) 1938 Gale Warning 1939 Shoal Water 1940 Period Stuff* 1942 An Eye For a Tooth 1943 The House that Berry Built 1945 Red in the Morning (Were Death Denied) 1946 The Berry Scene* 1947 Cost Price (The Laughing Bacchante) 1949 Lower than Vermin 1950 As Berry and I Were Saying 1952 Ne’er Do Well 1954 Wife Apparent 1956 B-Berry and I Look Back 1958 Angela Thirkell The Barsetshire novels carry an asterisk *. Three Houses 1931 Ankle Deep 1933 The Fiction of John Buchan, Dornford Yates and Angela Thirkell 227 High Rising* 1933 Wild Strawberries* 1934 Trooper to the Southern Cross 1934 Demon in the House* 1934 O, These Men, These Men! 1935 The Grateful Sparrow 1935 The Fortunes of Harriet 1936 August Folly* 1936 Coronation Summer 1937 Summer Half * 1937 Pomfret Towers* 1938 The Brandons* 1939 Before Lunch* 1939 Cheerfulness Breaks In* 1940 Northbridge Rectory* 1941 Marling Hall* 1942 Growing Up* 1943 The Headmistress* 1944 Miss Bunting* 1945 Peace Breaks Out* 1946 Private Enterprise* 1947 Love Among the Ruins* 1948 The Old Bank House* 1949 County Chronicle* 1950 The Duke’s Daughter* 1951 Happy Return* 1952 Jutland Cottage* 1953 What Did It Mean?* 1954 Enter Sir Robert* 1955 Never Too Late* 1956 A Double Affair* 1957 Close Quarters* 1958 Love At All Ages* 1959 Three Score and Ten* 1961 Notes 1 Introduction: Politics and Pleasure in Language 1. Virginia Woolf, ‘Why Art To-Day Follows Politics’ (1936), in Stuart N Clarke (ed.) The Essays of Virginia Woolf, vol. VI, 1933–1941, and Additional Essays 1906–1924 (London: The Hogarth Press, 2011), 75–9, 75. 2. Woolf 1936, 76. 3. J B Morton wrote ‘The Queen of Minikoi’ in Parody Party (1936), as a pastiche of the Hannay adventure style. He also incorporated a pastiche of Dornford Yates’s characters and style in Pyrenean (1938). 4. Letter from Angela Thirkell to P P Howe, 6 March 1942, Hamish Hamilton archive, Bristol University Library Special Collections (used by kind permis- sion of the Estate of Angela Thirkell). 5. William Plomer, ‘Fiction: A Prince of the Captivity’, The Spectator, 151 (21 July 1933), 94. 6. The Bookman, LXXXVI: 513 (June 1934), back cover. 7. Raymond Williams, The Country and the City (Oxford: Oxford University Press, 1973), 12. 8. Alison Light, Forever England: Femininity, Literature and Conservatism between the Wars (London: Routledge, 1991), 18. 9. William Vivian Butler, The Durable Desperadoes: A Critical Study of some Enduring Heroes (London: Macmillan, 1973), 17. 10. Kate Macdonald, ‘Writing The War: John Buchan’s lost journalism of the First World War’, The Times Literary Supplement, 10 August 2007, 14–15. 11. Kate Macdonald, John Buchan: A Companion to the Mystery Fiction (Jefferson: McFarland, 2009). 12. A J Smithers, unpublished postscript to his biography of Yates (private collection). 13. Butler 1973, 21. 14. Colin McInnes changed his surname’s spelling to ‘MacInnes’ when he began his own career as a novelist. 15. Jill N Levin, The ‘Land of Lost Content’: Sex, Art and Class in the Novels of Angela Thirkell, 1933–1960, MA thesis, Washington University, St Louis, 1986, 11–12. The Leavis quote is from Fiction and the Reading Public (London: Chatto & Windus, 1932), 47. 16. Margot Strickland, Angela Thirkell: Portrait of a Lady Novelist (London: Gerald Duckworth & Co., 1977), 142, 150. 17. Hermione Lee, ‘Good show’, The New Yorker, 7 October 1997, 90–5, 90. 18. In this she was not alone. Tom Harrisson had noted the growing right-wing attitudes ‘which he saw gathering “strength”’ (Harrisson 1941, 419–20). 19. Diana Trilling, Reviewing the Forties (New York: Harcourt Brace Jovanovitch, 1978), 12. 20. Light 1991, 2. 228 Notes 229 21. Thomas J Roberts, An Aesthetics of Junk Fiction (Athens, GA: University of Georgia Press, 1990), 11, 15. 22. David Smith, Socialist Propaganda in the Twentieth-Century British Novel (London: Macmillan, 1978), 2. 23. Hans Jauss, Toward an Aesthetic of Reception (Minneapolis: University of Minnesota Press, 1982), 15. 24. John Carey, The Intellectuals and the Masses: Pride and Prejudice among the Literary Intelligentsia, 1880–1939 (London: Faber & Faber, 1992), 6. 25. George Watson, Politics and Literature in Modern Britain (London: Macmillan, 1977), 84. 26. Light 1991, x. 27. Terence Rodgers, ‘The Right Book Club: Text wars, modernity and cultural politics in the 1930s’, Literature and History, 12:2 (2003), 1–15, 2. 28. Watson 1977, 87–8. 29. Watson 1977, 89. 30. Rodgers 2003, 1. 31. Rodgers 2003, 2. 32. Rodgers 2003, 2. 33. Rodgers 2003, 6. 34. Another competing book club set up in this period was the National Book Association (also established in 1937), but this ‘was a propaganda mouthpiece for Chamberlain’s National Government, and financed by Conservative Party Central Office’. Rodgers 2003, 7. 35. A J Smithers, Dornford Yates: A Biography (London: Hodder & Stoughton, 1982), 96. 36. Smith 1978, 2. 37. Mary Grover, The Ordeal of Warwick Deeping: Middlebrow Authorship and Cultural Embarrassment (Madison, NJ: Farleigh Dickinson University Press, 2009), 27. 38. Light 1991, 14. 39. Watson 1997, 90–1. 40. Janet Montefiore, Men and Women Writers of the 1930s: The Dangerous Flood of History (London: Routledge, 1996), 22–3, 47. 41. Rosa Maria Bracco, Merchants of Hope: British Middlebrow Writers and the First World War, 1919–1939 (London: Berg, 1993), 69. 42. Light 1991, xii. 43. Nicola Humble, The Feminine Middlebrow Novel 1920s to 1950s: Class, Domesticity and Bohemianism (Oxford: Oxford University Press, 2001), 11. 44. Mary Grover’s 2009 study of Warwick Deeping is an important, recent, exception. 45. Anon., ‘Come in! and let’s talk about Middlebrows’, London Opinion, 16 August 1930, 136. 46. Kate Macdonald, ‘Introduction: Identifying the Middlebrow, the Masculine and Mr Miniver’, in Kate Macdonald (ed.) The Masculine Middlebrow, 1880– 1950: What Mr Miniver Read (Basingstoke: Palgrave Macmillan, 2011), 1–23, 11. 47. Richard Usborne, Clubland Heroes (1953) (London: Hutchinson, 1983), 3. 48. Ann Rea, ‘The collaborator, the tyrant and the resistance: The Lion, The Witch and The Wardrobe and middlebrow England in the Second World War’, in 230 Notes Kate Macdonald (ed.) The Masculine Middlebrow, 1880–1950: What Mr Miniver Read (Basingstoke: Palgrave Macmillan, 2011), 177–96, 190. 49. Williams 1973, 20. 50. Williams 1973, 21–2. 51. Dornford Yates, ‘How Will Noggin was fooled, and Berry rode forth against his will’ (1919), in Berry & Co (London: Ward, Lock & Co, 1920), 9–33, 31–2. 52. Smithers 1982, 19–23. 53. Paul Fussell, The Great War and Modern Memory (1975) (Oxford: Oxford University Press, 2000), 21. 54. Ted Bogacz, ‘“A tyranny of words”: Language, poetry and antimodernism in England in the First World War’, The Journal of Modern History, 58:3 (1986), 643–68, 645. 55. I am grateful to George Simmers for this suggestion. 56. Smithers 1982, 79. 57. Yates often took the opportunity, for later editions of his novels, to alter or replace the dedications. This one clearly dates from shortly before or after the Second World War. 58. Smithers 1982, 164. 59. Dornford Yates, Berry & Co (London: Ward, Lock & Co, 1920), 118–19. 60. George Simmers, pers. comm., 2009. 61. Dornford Yates, Anthony Lyveden (London: Ward, Lock & Co, 1921), 46–7. 62. Dornford Yates, The Stolen March (London: Ward, Lock & Co, 1930), 29. 63. Dornford Yates, Blood Royal (1929) (London: Hodder & Stoughton, 1941), 79. 64. Dornford Yates, Storm Music (London: Ward, Lock & Co, 1934), 96; Gale Warning (London: Ward, Lock & Co, 1939), 35, 149. 65. Robert Scholes, Paradoxy of Modernism (New Haven: Yale University Press, 2006), 171.