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Vincent Price & Peter Cushing: On location filming ‘Madhouse’ in 1974
10.30.2012
08:26 pm
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A location report for Jim Clark’s 1974 film Madhouse, starring Vincent Price, Peter Cushing, Robert Quarry, Adrienne Corri and Linda Heyden. The film was very loosely based on Angus Hall’s pulp thriller Devilday, which told the story of a dissipated actor, Paul Toombes (Price) and his return to acting in a TV horror series about the evil Doctor Dis (Doctor Death in the film). Toombes was an obese, unrepentant, drug addicted and sexual predator, who dabbled in Black Magic, and is suspected of a series of brutal murders. Hall’s character owes something to Orson Welles and Aleister Crowley, and the book offered quite a few interesting plot lines the film never developed. Clark went on to edit Marathon Man, The Killing Fields, and The World is Not Enough, amongst many others. Madhouse was his last film as director.

Here director Clark talks about his admiration for the gods of film James Whale and Todd Browning, while Vincent Price and Peter Cushing talk about why ‘horror’ or ‘thrillers’ are so popular.
 

 
With thanks to Nellym.
 

Posted by Paul Gallagher
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10.30.2012
08:26 pm
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‘Stalker’: Into the Zone with Geoff Dyer
10.27.2012
05:24 pm
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I am reading Geoff Dyer’s new book “Zona: A Book About a Film About a Journey to a Room”, a 200-plus page revery on Andrei Tarkovky’s Stalker. For many people, Tarkovsky is the kind of director that you have to make an effort to appreciate. But you do so because it is “art.” His long takes, enigmatic dialogue and refusal to follow linear narrative can be exasperating. It can also be dreamlike, hypnotic and, dare I say it, spiritual. Tarkovsky’s cinema eye focuses on the textures of images, their metaphysical heft (or lack of), the spaces between things and the sense of mystery and dread that can fill the emptiness where things aren’t. The sound of water dripping is a recurring sonic motif in Tarkovsky’s films - a liquid metronome in which we are reminded of life’s craving for fulfillment. We ache for what evaporates.  

Tarkovsky takes his sweet time in order to anilihate it. Within his moving pictures, there is a stillness that can be close to unbearable. Godard said cinema is the truth at 24 frames per second. For Tarkovksy, the truth is frozen in time and he wants to slow down long enough to catch it. But once caught, truth becomes victimized by man and no longer resembles itself. The truth remains true when it is just beyond reach. It is what Stalker is stalking.

Dyer writes from a position of immersion. He’s not an academic writing objectively about a movie. Stalker haunts and has transformed him. And I can dig it. Tarkovky’s masterpiece is like a psychedelic without the hallucinations. It bends the mind toward a kind of Buddha-like clarity, that nowness when you SEE things as they are. You are in the “zone.” And if that sounds deadly serious, it’s not. Dyer writes from the “left-hand school.” He finds humor in the heaviness, understands the absurdity of so much of what human beings do and understands that within Tarkovky’s existential bleakness, there are moments of elation, transcendence, joy and the occasional cosmic pratfall.

Stalker is both the subject of Dyer’s writing and a jumping off point. The gravity of the film keeps him within its orbit but doesn’t constrain him. The tangents are as unexpected as they are entertaining. Dyer knows how to riff. Watch the movie and read the book. The combination of the two creates a third experience that is extremely gratifying.

On the Tarkovsky tip, Michal Leszczylowski’s fine documentary Directed By Andrei Tarkovsky takes you into the director’s film making process - a process he called “sculpting in time.” It’s definitely worth your time to watch it.
 

Posted by Marc Campbell
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10.27.2012
05:24 pm
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Road Movie: Mick Farren’s nightmare noir pulp fiction
10.22.2012
04:55 pm
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Photo of the great Mick Farren by Rebekah Weikel

An excerpt from Mick Farren’s nightmarish new “pulp fiction” novel, Road Movie, published by Penny-Ante Editions

A MORNING TOO FAR

Doc had been set up like a bowling pin. Sub-space gossip about GS-AS Pentecostal Fire Boys with snitches in tow, shaman mumblings from the jungle hinter world of insurrection and planned cannibalism, while much closer to home the ominous silence that follows and envelopes a pariah left him in no doubt that he was being fingered far and wide for Huxley Hahn’s Roman butchery at the notorious Cardinal’s fuck pad. Doc had no idea why he’d been chosen to take the fall – or if the motel interlude at the Red Barn had been a part of a long term setup – but it had clearly been decreed somewhere on the higher floors of Golgotha, and, in consequence, he was royally fucking screwed.

His only option was to run like hell until finally seeking sanctuary by holing up with The Blimp, and to hole up with The Blimp was nothing short of an application for extended turn-your-stomach revulsion. Not that Doc could exactly complain. Okay, so The Blimp was disgusting, rarely moved, and lay like a filthy, partially inflated Buddha, in a stained yukata, smoking some black sticky-bastard narcotic concoction muled out of highlands by tribesmen not much more civilized than their headhunter ancestors. Hits on the crusted pipe alternated with hits of over-proof Demerara rum straight from the bottle —the kind that would explode if brought in proximity to a lit cigarette—and all the while The Blimp was idly masturbating to bestial porn streaming from some Mongolian mob black satellite, under the constant forced observation of a purchased and paid-for, although barely legal, chained hermaphrodite.

Doc had tried a couple of hits on the glass and tinfoil burner, but it had only made him want to vomit. However, The Blimp was effectively and quite efficiently keeping Doc Forty alive, and, for that alone, Doc knew he was required to be appreciative. If he ever failed to remember, the noise from the street below the filtered up from the Blimp’s personal crew of bosozoku, known as the Dragon Gang—over-revving their lightweight Suzuki’s, all James-Dean mean, acting as his first-line lookouts—was always there to remind him.

While The Blimp stared blankly at his high definition porn parade of cocks, cunts, and come shots, rope and pulleys, blocks and tackles, Lucite heels, leather masks, and domestic animals on the huge loud flat-screen, Doc took a hamster run on the wheel of paranoia. He was wide open, exposed on every side. His reputation was shit. If they wanted him for a patsy, fuck it; they only needed to send a goddamned meter maid. No need for an extended setup or charade, Doc was a scapegoat for the asking.

When the porn and paranoia became too much, Doc retreated to the foul privacy of The Blimp’s spare bedroom—which was stuffed with old and mildewed security files and bundles of bondage magazines—in search of oblivion. Fourteen Valium had finally put him to sleep, but then he was unable to wake from the nightmare. And it was some fucking nightmare. Usually Doc came out of bad dreams screaming, in this one, he was screaming going in. He screamed until he was dizzy, but it didn’t make a blind bit of difference. The cacophony just smashed back at him with some Newtonian equal-and-opposite logic, along with a vast reverberating boom, like the towering rhythmic rage of some vast aquatic mammal. He was already getting the remote assault treatment even before they had him in custody.

Mercifully one of The Blimp’s batboy gofers had managed to score Doc a flask of Hungarian absinthe and a tiny dropper bottle of the near-impossible-to-find concentrated tincture of opium. It was about the best exit from reality that he could expect in his current situation. He quickly filled a glass with a stiff shot of the absinthe, and then placed the ornate perforated spoon across the rim. A few sugar cubes remained in the box and he put one in the spoon with a trembling hand. He filled the dropper and held it as, with his free hand, he applied a gas lighter to the sugar. When the sugar began to melt, he quickly dropped tincture on it, leaning forward to inhale the vapor that briefly curled up from the cube. Then, as the sugar and opium became a liquid sludge, he dumped the contents of the spoon into the glass and gave it a brisk stir. Pale green clouds blossomed in the absinthe, and, without any hesitation or need for ritual; he downed the unattractive cocktail in one foul tasting swallow. Oblivion did not have to taste good. They would come for him soon enough, and he might as well spend the intervening time knowing as little about it as possible.

 

Posted by Richard Metzger
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10.22.2012
04:55 pm
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Dirk Bogarde: A Life of Letters
10.21.2012
04:45 pm
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By 1968, Dirk Bogarde thought his film career was drawing to a close, as his days as a matinee idol were long over, and the offers of work had slowed. With his partner Tony Forwood, he moved to France, and started a second career as a writer. Bogarde proved to be an exceptional writer, producing 15 bestsellers, including volumes of autobiography and fiction. He was also a dedicated correspondent, penning letters to his many friends and fans. Bogarde’s letters are filled with gossip and back-biting, sketches and scintillating tales of his life.

This first letter was written when Bogarde had finished work on Richard Attenborough’s A Bridge Too Far, with Sean Connery, Ryan O’Neil and Michael Caine, and was also re-dubbing his voice on Alain Resnais Providence.

Though Bogarde was a prolific writer, he could not spell (ahem…rather like Nigel Molesworth), and the following is presented as was written.

To Bee Gilbert, Clermont, 13 September, 1976

Dearest Sno’

What a lovely long letter to cheer me up on my return, three days ago, from a hellish week of looping in Paris. I got there to find that I had to loop the entire fucking film… 200 loops. The sound engineers were dreadful (from Telly natch) and the birds, dogs and airoplanes which scattered across the locations screwd us up even more. Well… it is done now. Am home again for a couple of weeks before returning to Old Father Attenboroughs Disney-Arnhem. Which I dread. Ah well. It will make a bomb, with all those Stars how can it fail? Adored Sean C and worked very happily indeed with him… and made a surprising new mate in Ryan O’Neil who could not be nicer, jollier and brighter! That WAS a surprise. Tote says it was because he was so bloody respectful to me all the time… but I just liked the bloke. And he’s good too. And THAT was a surprise. Gene Hackman was a bit Methody and got cross if the camera operator was on the set while he was rehearsing… but was very pleasant to me and quite good, not more, when it came to the Acting.

Mike Cain pulled the Movie Star bit a bit much… the big cigar, black glasses and fat Cadillac… but he was pleasant if dull and has to have the ugliest voice in the business… and pop eyes. And that was a surprise too. I dont think I could go through it again for anything. Even the lolly. A woman from The New York Times ruefully mumbled that doing something as crappy for so much loot left ‘a kind of stain.’ I wonder if she was right. Holland was hell. Apart from the van Goghs, Rembrants and the Vermeers it is all a lot of crappy horror… We stayed in a ‘dainty’ little hotel in a wood where dinner started at 6.30pm and was off at 8.45. THAT went down like a cup of cold sick as you may imagine. Especially as the prices were identicle to the Lancaster in Paris! However we had three weeks there and flew back on a beastly Caravelle, which bounced all the way to Nice…

We have had, unlike you, a soaking summer… everything green and lush… while the great trees in the Luxumbourg Gardens are all dead. And now Tote is out mowing acres of white daisies and autumn crocus and I think I’d better go and help him… regretfully. I am so lazy and full of reaction… odd.

God bless you, pretty Sno… all love as ever for ever… as you know.

Sno.

YoR

Dirk.

Bogarde did not have worry too much about his cinematic career, as the 1970s saw him working with Luchino Visconti on Death in Venice, Liliana Cavani on The NIght Porter, with Rainer Werner Fassbinder on Despair and Bertrand Tavernier’s Daddy Nostalgie.

In 1983, Bogarde’s partner Tony Forwood was diagnosed with Parkinson’s and cancer, which led the couple to leave France for England in 1987. Not long after their arrival Bogarde suffered a stroke, and the following year Forwood died. Bogarde was devastated, only his writing kept him from suicide. He maintained his various correspondences, including one to Penelope Mortimer, whom he had written to since 1971.

In this letter from 1991, Bogarde responds to Mortimer’s gentle cajoling, and gives a portrait of his life after Forwood’s death.

To Penelope Mortimer, Cadogan Gardens, 24 September, 1991

Bloody hell, you are difficult. I TOLD you that you would find my letter nausiating, people like you, those who see everything in dusk-tones, would. I AM a sort of Pollyanna… and after years of just keeping away from people on account of millions came to me to watch my cavorting, living a secluded life in my small-holding I suddenly got shoved into FULL LIFE with no protection and in a Foreign Land.

After a time of, shall we say reflection?, I decided that having had one stroke and not much liking the effects, I could very well have another, had to live in filthy UK… had to live in London… where better to be than where I started off at 16 as a Student at Chelsea Poly? Parents had been students there too. And the Slade. I felt ‘right’ in the area. Coming to terms was difficult. To terms with walking quite unprotected in streets jammed with curious people.

‘I think it is. Look!’
‘You ask him. Go on. He cant bite you?’
‘Were you Dirk Bogarde?’
‘Left France, have you?’
‘I remember your face but not the name? Humphry someone… ‘

I ducked into my anorak and tried to walk, as I told you, only at dusk or just when shops had opened. Fewer people. No standing with curious, autograph hunting, housewives in lines at the Check Outs. Sainsbury’s, Tesco, Waitrose were soon abandoned. People followed one.

‘He’s buying tinned tomatos.’
‘Thinner than I imagined.’
‘Smaller.’
‘And balding… see?’
‘Pity. But after 50, you know… ‘
‘Could you sign this? Not for me, for my neice, grandmother, wife, son, sister, baby-sitter, cousin Agnes, Eileen, with two e’s please, Anne with an “e”...’

No one, ever, in France behaved like this. Not even in Paris… unless they were British. I felt, all the time, as if my cock was hanging out of my pants: I hunched my shoulders, wore a Purdy cap, scuttled (as far as I could scuttle with a wonky leg) and my doctor thought that it might be ‘obesessional’. Might it? I’d never had an obsession before, save for lizards, frogs, birds, and those kinds of things. So I decided to either go mad or face up to it. I faced up to it. Took off the cap… walk INTO the Check out… smile at everyone because they SMILE at me! Memory jogs them… of some time in which I must have figured in their private lives somewhere… at any age from 10 to 70. My films are always on TV on Sunday. I am counted as a friend. OK. I’ll settle for that. It is far better than hiding in this flat wondering what to do, how to die gracefully.

RAGE. Yes. You make the error of thinking that RAGE has to be manifest, that one shouts and screams with what you call ‘fury’. Balls. RAGE is sometimes inside. Heard of a Rage To Live?

You react to one puny sentence in my letter about 50 years and body-bags on a too small stair-case. But RAGE did’nt remotely come NEAR the thing. Acceptance, humility, fear of ‘what now’, relief that three years of almost unendurable suspense, of desperate distress physically, of loss but relief that it was over. Knowing is so much better, I promise you, than wondering: and hope is pretty hollow when it leaves.

No sense of injustice. Helplessness, yes. To a point. But one is forced by distress and need to rally. No fury. At all. Why? It happens; we are born to die. When Anna, the Night Nurse, and I tried to turn the patient [Tony Forwood] he said, and I could only hear by putting my head against his chest and ‘took’ the vibrations, ‘If you did this to a dog they’d arrest you’. Right. He was being ‘jokey’. But he was right. Which is why I am now the Vice President of VES… and sticking my neck out against Catholics and British Manners and Members of the BMA. IN public. But no Rage. I had the most wonderous 50 years of my life. So did my partner. WE both knew that we’d have to pay. And did. OK?

I have come to terms with my life, I only have an active 10 years reasonably left. Christ! Why waste them? I have just written to Radio Drama. TV [sic] and refused, politely, their kind offer to write a play, or a series, for them. I have quoted the things I watched for homework. ‘Tittmuss’, House of Elliot, Trainer and some dire thing, they adored, which starred my (once) deeply respected Tom Courtney. Impossible to believe any of them. Lowest-Common-Watcher. I’d rather stay with my Telegraph Readers. At least they write back intelligently. I’m off to do a bit of Auschwitch again: then there is RAGE. Then, my love.
Will that do? Hope that you are not vexed that I shoved R. Fox the Handle? It’s only a nudge of course. But he’s bright, clever, and very sharp. Also his track record is amazing, and his wife is to die [for,] she is so adorable, tough, beautiful and can act! Wow!

Love

D.

Dirk Bogarde‘s letters are collected in the volume Ever, Dirk, edited by his biographer John Coldstream.
 
Previously on Dangerous Minds

Dirk Bogarde: Never screened on TV interview from 1975


Dirk Bogarde: Still Cool


 
HT to the Telegraph
 

Posted by Paul Gallagher
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10.21.2012
04:45 pm
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James Ellroy: An early interview with the Demon Dog of American Literature
10.15.2012
10:07 am
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James Ellroy lies in a darkened room brooding about the past. He thinks about his mother, Geneva Hilliker Ellroy, who was murdered in 1958, when Ellroy was 10-years-old. The killer has never been found.

Ellroy was born and raised in Los Angeles. When his parents divorced, Ellroy lived with his mother in El Monte during the week, and spent weekends with his Father.

His father, Armand Lee Ellroy, was an accountant and one-time business manager for Rita Hayworth. Ellroy usually adds his father had a massive schlong, and schtooped anything that moved. His father gave Ellroy a copy of Jack Webb’s book The Badge. Ellroy read the book obsessively.  He read the story of Elizabeth Short, aka The Black Dahlia, whose severed, mutilated body was discovered on a vacant lot, on the west side of South Norton Avenue, between Coliseum and West 39th, in 1947.

Ellroy merged his mother’s murder with the Black Dahlia’s. He fantasized how he’d save the Dahlia and marry her. He fantasized how he’d save his mother. The fantasies were inspired by guilt and depression.

Before Geneva’s murder, his parents had been going through a rough time. His father was poisoning Ellroy’s mind about his mother. His father let Ellroy do what he wanted. His mother had rules. When she died James had wanted to be free of her. Now he was, he felt guilty.

He grew up lanky, and geeky. He was awkward around girls. He was a WASP at a Jewish school. He hated to be ignored. Ellroy played at being the weirdo. In the schoolyard he riffed on the Black Dahlia, serial killers, and Nazis. He made it look like he didn’t care what others thought. It worked. It made him untouchable.

He flunked school and prowled the neighborhood. He peeped on girls he could only dream about. He broke into their houses, sniffed their panties, drank their parents’ booze, looked in medicine cabinets and popped pills, stole what he wanted. They never knew.

Ellroy lived off T-bird, and the wading from Benzedrex inhalers. It made him grind down his teeth. He tripped. He became homeless. He stole. He did gaol time. His life was in freefall - the parachute was an abscess on his lung, the size of a man’s fist.

Ellroy prayed for a second chance. He got it. He turned his life round and started writing crime novels. Influenced by Hamnett rather than Chandler. At first hooked around his own experience as caddy on a golf course, then the large multi-narrative, police procedurals, re-telling the history of modern America. Ellroy was riffing on the things he obsessed about, the Black Dahlia, sex, violence, bad, bad, bad men coming to grips with their humanity.

He wrote the L.A. Quartet, which included The Black Dahlia, and L.A. Confidential. Then a book about his search for his mother’s murder, My Dark Places. He never found him. Closure is bullshit, he says. Then the trilogy Underworld U.S.A., which includes American Tabloid, and the brilliant Blood’s A Rover.

Now, Ellroy is one of America’s greatest living novelists, and very few come close. He still lives in L.A. and writes everyday, long hand, ink pen, legal pad, and lies in darkened rooms brooding about the past.

This is a rare clip of James Ellroy, in his trademark Hawaiian shirt (worn in pouring rain), interviewed for the French program Cinéma Cinémas in 1989.
 

 

Posted by Paul Gallagher
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10.15.2012
10:07 am
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Samuel Beckett: Reads from his novel ‘Watt’
10.12.2012
04:25 pm
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I have never heard Samuel Beckett’s voice, so I do hope that this is genuine. If it is, then it is a very rare recording indeed, as Beckett was averse to having himself filmed or recorded.

In this short clip (uploaded by Oranj Telor Theatre) Beckett reads an extract from his difficult and complex second novel, Watt, which was written “just an exercise”, while on the run from the Gestapo during the Second World War. “No symbols where none intended.”
 

 
An even shorter Q & A with Beckett, after the jump…
 

READ ON
Posted by Paul Gallagher
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10.12.2012
04:25 pm
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‘A Baboon of Genius’: Nabokov talks ‘Lolita’ on Fifties TV
10.09.2012
03:55 pm
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Among other things, in recent weeks we have learned that, had Humbert Humbert – the narrator of Vladimir Nabokov’s Lolita moved to England, bagged a job with the BBC, and feigned (very much feigned) an interest in pop music… well, what a happy existence he could have led. I can almost picture the old dog presenting Top of the Pops (perhaps even wearing a track-suit and smoking an oversized cigar) surrounded by teenyboppers and smiling ear to ear.

As it was, Nabokov had in mind a more furtive and frustrating existence for his protagonist, who he describes here, in splendid 1950s CBS footage with Lionel Trilling, as a “baboon of genius.” Nabokov himself, shuffling his famous index cards (he insisted upon preparing his answers in advance, and reading them aloud), was in the midst of a very rich vein of form indeed, one that resulted not only in Lolita but also Pnin and Pale Fire. He is bright-eyed, ironical, eccentric, amusing and wholly indifferent to the kind of impression his controversial masterpiece (which has since sold more than fifty million copies) was making to 1950s America.
 

 
Part 2, after the jump…

READ ON
Posted by Thomas McGrath
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10.09.2012
03:55 pm
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Jimmy Savile: ‘Stranger Danger’
10.09.2012
02:16 pm
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You can’t judge a book by its cover.

This gives an idea how Jimmy Savile was once viewed by the British public - safe enough to look after your kids.

The above book Stranger Danger is available on Amazon, while a copy of the BBC’s child minder’s handbook has been sold on ebay. Which makes Savile’s years of alleged sexual abuse all the more horrifying.

The new Director General of the BBC, George Entwistle, apologized yesterday to all of the women who were allegedly abused by Savile:

“The women involved here have gone through something awful and something I deeply regret that they should have to go through and I would like to apologise on behalf of the organisation to each and every one of them for what they’ve had to endure here.”

Entwistle did not use the word “alleged” in his comment, which suggests Entwistle believes the evidence against Savile is comprehensive and damning. Entwistle added:

“When the police have finished everything they have to do and when they give me an assurance there is no danger of us in any way compromising or contaminating an investigation. I will take it further and make sure that any outstanding questions are answered properly.”

To give an idea of the horrendous scale of Savile’s alleged sexual abuse, the Metropolitan Police are currently pursuing 120 lines of enquiry.
 
jimmy_savile_children
 
With thanks to Tommy Udo.
 

 

Posted by Paul Gallagher
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10.09.2012
02:16 pm
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The Cook’s Story: An extract from the Journal of Katherine Mansfield, 1919
10.07.2012
07:29 pm
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Virginia Woolf was never sure of Katherine Mansfield. She thought she was a literary rival, someone to be wary of, not quite trusted, and never to be fooled by her appearance, especially those big brown eyes, the severe bangs in a line across her forehead, her school marmish uniform, or the way she sat crossed-legged and drank tea out of bowls. Mansfield frightened Virginia, and it was only after Katherine’s early death in 1923 (a hemorrhage caused by running up a flight of stairs), and the subsequent publication of her journal, did Woolf see that Katherine Mansfield wasn’t a rival but her own distinct and brilliant talent.

Mansfield’s journal contained a heartbreaking tales of hardship, poverty, and debilitating illness. Woolf was shocked that Katherine had achieved so much against such very terrible odds. Virginia noted in her own journal how she would think about Katherine for the rest of her days. She did more than that, Woolf was directly influenced by Mansfield’s Modernist short stories and tried her own hand at Modernism with Mrs Dalloway, To the LIghthouse, The Waves and Between the Acts.

Mansfield’s Journal contained many short notes, ideas, descriptions and oblique details of her life - situations were often ill-defined, people disguised by initials, and important events missing - she destroyed much. Originally, the Journal had been edited for publication by John Middleton Murry, her indifferent husband and part-time lover, who literally abandoned Mansfield at the time of her greatest need. It was for him that she ran up those fatal stairs. Murry was a selfish, ineffectual and weak man, who exploited others to maintain a fantasy of his own genius - his books are lifeless, poorly written and dull. Woolf saw through him, and this may have clouded her judgment on Mansfield.

That’s the unfortunate thing about relationships, too often individuals can be limned by their other half. Mansfield was fiesty, brilliantly intelligent, and a very real talent, compared to Murry’s straw man.

There is a story in the Journal which is heartbreaking, and sad. And though not really about Mansfield, it in part mirrors something about the worst parts of relationships. Where Katherine suffered Murry’s damning indifference and torturous infidelities, the Cook of this tale suffered in a more brutal way.

I want to share it, because I think we can often judge too quickly, and too harshly, without ever knowing how another lives.

The Cook.

The cook is evil. After lunch I trembled so that I had to lie down on the sommier - thinking about her. I meant - when she came up to see me - to say so much that she’d have to go. I waited, playing with the wild kitten. When she came, I said it all, and she said how sorry she was and agreed and apologised and quite understood. She stayed at the door, plucking at a d’oyley. “Well, I’ll see it doesn’t happen in future. I quite see what you mean.”

So the serpent slept between us. Oh! why won’t she turn and speak her mind. This pretence of being fond of me! I believe she thinks she is. There is something in what L.M. says: she is not consciously evil. She is a FOOL, of course. I have to do all the managing and all the explaining. I have to cook everything before she cooks it. I believe she thinks she is a treasure…no, wants to think it. At bottom she knows her corruptness. There are moments when it comes to the surface, comes out, like a stain, in her face. Then her eyes are like the eyes of a woman-prisoner - a creature looking up as you enter her cell and saying: ‘If you’d known what a hard life I’ve had you wouldn’t be surprised to see me here.’

[This appears again in the following form.]

Cook to See Me.

As I opened the door, I saw her sitting in the middle of the room, hunched, still…She got up, obedient, like a prisoner when you enter a cell. And her eyes said, as a prisoner’s eyes say, “Knowing the life I’ve had, I’m the last to be surprised at finding myself here.”

The Cook’s Story.

Her first husband was a pawnbroker. He learned his trade from her uncle, with whom she lived, and was more like her big brother than anything else from the age of thirteen. After he had married her they prospered. He made a perfect pet of her - they used to say. His sisters put it that he made a perfect fool of himself over her. When their children were fifteen and nine he urged his employers to take a man into their firm - a great friend of his - and persuaded them; really went security for this man. When she saw the man she went all over cold. She said, Mark me, you’ve not done right: no good will come of this. But he laughed it off. Time passed: the man proved a villain. When they came to take stock, they found all the stock was false: he’d sold everything. This preyed on her husband’s mind, went on preying, kept him up at night, made a changed man of him, he went mad as you might say over figures, worrying. One evening, sitting in the chair, very late, he died of a blood clot on the brain.

She was left. Her big boy was old enough to go out, but the little one was still not more than a baby: he was so nervous and delicate. The doctors had never let him go to school.

One day her brother-in-law came to see her and advised her to sell up her home and get some work. All that keeps you back, he said, is little Bert. Now, I’d advise you to place a certain sum with your solicitor for him and put him out - in the country. He said he’d take him. I did as he advised. But, funny! I never heard a word from the child after he’d gone. I used to ask why he didn’t write, and they said, when he can write a decent letter you shall have it - not before. That went on for twelvemonth, and I found afterwards he’d been writing all the time, grieving to be taken away. He’d done the most awful things - things I couldn’t find you a name for - he’d turned vicious - he was a little criminal! What his uncle said was I’d spoiled him, and he’d beaten him and half starved him and when he was frightened at night and screamed, he turned him out into the New Forest and made him sleep under the branches. My big boy went down to see him. Mother, he says, you wouldn’t know little Bert. He can’t speak. He won’t come near anybody. He starts off if you touch him; he’s like a wild beast. And, oh dear, the things he’d done! Well, you hear of people doing those things before they’re put in orphanages. But when I heard that and thought it was the same little baby his father used to carry into Regent’s Park bathed and dressed of a Sunday morning - well, I felt my religion was going from me.

I had a terrible time trying to get him into an orphanage. I begged for three months before they would take him. Then he was sent to Bisley. But after I’d been to see him there, in his funny clothes and all - I could see ‘is misery. I was in a nice place at the time, cook to a butcher in a large way in Kensington, but that poor child’s eyes - they used to follow me - and a sort of shivering that came over him when people went near.

Well, I had a friend that kept a boarding house in Kensington. I used to visit her, and a friend of hers, a big well-set-up fellow, quite the gentleman, an engineer who worked in a garage, came there very often. She used to joke and say he wanted to walk me out. I laughed it off till one day she was very serious. She said, You’re a very silly woman. He earns good money; he’d give you a home and you could have your little boy. Well, he was to speak to me next day and I made up my mind to listen. Well, he did, and he couldn’t have put it nicer. I can’t give you a house to start with, he said, but you shall have three good rooms and teh kid, and I’m earning good money and shall have more.

A week after, he come to me. I can’t give you any money this week, he says, there’s things to pay for from when I was single. But I daresay you’ve got a bit put by. And I was a fool, you know, I didn’t think it funny. Oh yes, I said, I’ll manage. Well, so it went on for three weeks. We’d arranged not to have little Bert for a month because , he said, he wanted me to himself, and he was so fond of him. A big fellow, he used to cling to me like a child and call me mother.

After three weeks was up I hadn’t a penny. I’d been taking my jewels and best clothes to put away to pay for him until he was straight. But one night I said, Where’s my money? He just up and gave me such a smack in the face I thought my head would burst. And that began it. Every time I asked for money he beat me. As I said, I was very religious at the time, used to wear a crucifix under my clothes and couldn’t go to bed without kneeling by the side and saying my prayers - no, not even the first week of my marriage. Well, I went to a clergyman and told him everything and he said, My child, he said, i am very sorry for you, but with God’s help, he said, it’s your duty to make him a better man. You say your first husband was so good. Well, perhaps God has kept this trial for you until now. I went home - and that very night he tore my crucifix off and hit me on the head when I knelt down. He said he wouldn’t have me say my prayers; it made him wild. I had a little dog at the time I was very fond of, and he used to pick it up and shout, I’ll teech it to say its prayers, and beat it before my eyes - until - well, such was the man he was.

Then one night he came in the worse for drink and fouled the bed. I couldn’t stand it. I began to cry. he gave me a hit on the ear and I feel down, striking my head on the fender. When I came to, he was gone. I ran out into the street just as I was - I ran as fast as I could, not knowing where I was going—just dazed—my nerves were gone. And a lady found me and took me to her home and I was there three weeks. And after that I never went back. I never even told my people. I found work, and not till months after I went to see my sister. Good gracious! she says, we all thought you were murdered! And I never see him since…

Those were dreadful times. I was so ill, I could scarcely hardly work and of course I couldn’t get my little boy out. He had grown up in it. And so I hard to start all over again. I had nothing of his, nothing of mine. I lost it all except my marriage lines. Somehow I remembered them just as I was running out that night and put them in my boddy - sort of an instinct as you might say.

An edited version of Journal of Katherine Mansfield is available here, and her brilliant Collected Short Stories are available here and here. A documentary on Katherine Mansfield’s life can be viewed here.
 

Posted by Paul Gallagher
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10.07.2012
07:29 pm
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Death is like a box of chocolates: Debbie Harry on lurid 1971 book cover
10.02.2012
04:02 pm
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Debbie Harry modeled for the paperback book cover of this 1971 reissue of Scottish author Josephine Tey’s 1949 mystery novel, The Franchise Affair.

Via Kenneth in the 212

Posted by Richard Metzger
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10.02.2012
04:02 pm
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