W. H. Auden’s Library Books
02.22.2013
04:07 pm

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Books
Heroes
Literature

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Poetry
W. H. Auden
Library Books

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A list of the books W. H. Auden borrowed from the New York Society Library during January and February 1962, and for various dates in 1963, reveals the poet’s passion for mysteries and pulp thrillers (including Gladys Mitchell’s The Man Who Grew Tomatoes, John Blackburn’s Bound to Kill, Alex Fraser’s Constables Don’t Count, John Rhode’s The Fatal Pool), as well as literature (amongst which are G. K. Chesterton’s Wit and Wisdom, Delacroix’s Journals, and Schiller’s Essays). All of which he appears to have read at a ferocious rate.
 
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Previously on Dangerous MInds

Writers Bloc: Places where Writers and Artists have lived together


 
Via Poets Org
 
More of Auden’s Library Books, after the jump…
 

Written by Paul Gallagher | Discussion
Revealing portrait of Christopher Isherwood: ‘A Single Man 1904-1986’

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I started reading Christopher Isherwood in my late teens, when I became a “paying guest” to an elderly spinster, who lived in an old tenement in the west end of Glasgow. She lived in the top floor apartment, where I rented the large front room, with a view onto the oval-shaped park below. My landlady was in her late seventies, bird-like, translucent skin, who whistled and took snuff in large pinches, sniffed from the back of her hand. She had inherited the apartment from her sister, and the interior had remained unchanged since the 1930s. The hallway with its bell-chimes for Maid, Bedroom 1, Bedroom 2, Parlor, and Dining Room, all still worked. In the kitchen was a range, and a small scullery with its fold-down bed, where the servant would have slept. Coal fires were in all of the rooms except mine. Of course, there was the occasional modern appliance, a TV, a one-bar electric fire, and an electric cooker, which was still in its plastic wrapping, and not to be used “under any circumstances”. Food was cooked over something that looked like a bunsen burner (what my landlady called “a blackout cooker”), and chilled products were kept in a larder. As for hot water, well that was never available, as the boiler was kept under lock and key, and toilet paper was sellotaped, to ensure I bought my own. The front door was locked at eight o’clock and the storm door bolted at nine. After ten, she never answered the door.

At the time, I was reading Goodbye to Berlin, which as you can imagine very much suited my surroundings. Like Isherwood’s character, Herr Issyvoo, I was surrounded by “the tarnished valuables and second-hand furniture of a bankrupt middle class.” A mantel-clock, a heavy glass ashtray, a green baize card table, orphaned figurines of a shepherd boy and shepherd girl, tending to their flocks, a large wooden bed (one leg broken) made in the 1920s. But perhaps, most significantly, was the fact my landlady had worked in Berlin as a furrier for a department store during the 1930s, and she often told me tales of her time in Germany. “Oh those Hitler Youth,” she once said, “Such smart uniforms, but the terrible things they did.”

At times it all made me feel as if I was living in Ishwerwood’s world, as in the evenings I would hear the whistles out in the park below. But unlike Herr Issyvoo, these were not young men calling up to their girlfriends, but dog owners calling to their pets.

The son of landed gentry, Christopher William Bradshaw Isherwood was born in 1904, at the ancestral seat of his family, Wybersley Hall, High Lane, England. His father was an army officer, who was killed during the First World War. His mother, Kathleen, had a fractious relationship with her son, and she later featured in his stories.

At school he met and became life-long friends with W. H. Auden and Edward Upward. He attended Cambridge University, but found he had no interest in his studies, and was sent down for writing a facetious answer to an exam question. It was while at university that he became part of the famous literary triumvirate with Auden and Stephen Spender, who were hailed by the Left as “intellectual heroes.”

Instead of studying, Isherwood wrote an anarchist fantasy with Upward, centered around the fictional Mortmere:

...a village inhabited by surreal characters modelled on their Cambridge friends and acquaintances. The rector, Casmir Welken, resembles a ‘diseased goat’ and breeds angels in the church belfry; his sidekick Ronald Gunball is a dipsomaniac and an unashamed vulgarian; Sergeant Claptree, assisted by Ensign Battersea, keeps the Skull and Trumpet Inn; the mannish Miss Belmare, domineering and well starched, is sister to the squire, and Gustave Shreeve is headmaster of Frisbald College for boys.

Though none of the stories were published at the time (and Upward destroyed most of them later on), it was the start of Isherwood’s writing career, and led on to his first novel All the Conspirators in 1928.

Stifled by England, Isherwood followed in his friend Auden’s footsteps and moved to Berlin. It proved an historic re-location, one that inspired the first of Isherwood’s important novels Mr Norris Changes Trains and Goodbye to Berlin. Literature aside, Isherwood’s main reason for going to Berlin was “boys” - blonde, working-class youth.

Isherwood supported himself in Berlin by working as an English tutor, and he used this experience to form the basis for his Berlin stories, and the creation of his eponymous central character. “I am a camera,” Isherwood famously wrote at the start of Goodbye to Berlin, for he saw Herr Issyvoo as “unobtrusive, sexless,” someone who could only observe, and examine the lives of those around him. When later asked why he had not been more explicit about his character’s homosexuality, Isherwood said that if he had come out, then it would have been “a production,” something that would have “upset the apple cart” for the other characters. The poet Stephen Spender claimed Isherwood once claimed he couldn’t imagine how people behaved when he was not in the room.

During the 1930s, Auden and Isherwood wrote a series of plays together, The Dog Beneath the Skin, The Ascent of F6 and On the Frontier, which dealt with their own identities and the idea of masculinity as exemplified by a hero. They also traveled to China to cover the Sino-Japanese War, and published a diary of their exploits. It was this war that convinced Isherwood to become a pacifist.

Perhaps because of the horrors the pair had witnessed in the East, Auden and Isherwood traveled to America in 1939, just before the Second World War began. It was an event that led the two writers to be castigated as “cowards” and “deserters”, for leaving their country in its moment of need - as if Auden or Isherwood’s presence would in some way stop the advance of Germany. Auden stayed in New York, living in a house with the stripper and pulp writer, Gypsy Rose Lee, and novelist Carson McCullers; while Isherwood moved to the west and California, which he described as more “dreamy and strange”, more theatrical.

Here he reworked some of his Berlin stories, but he lacked the zest to keep him inspired. Like many other writers, Isherwood turned to Hollywood for financial security, but had the sense to realize he wasn’t “some great genius prostituting [himself]”:

“I always realized it was very good training, and it made you realize things that you often lose sight of, by getting so arty and literary, that is to say, the fundamentals of telling a story, and the very simple things of putting A before B, and B before C, and getting it all sorted out, and telling it in a direct visual way, and that is always you can learn by working for the movies, and it doesn’t matter what it is.

Auden thought it nice work if you can get it, and said “At least you sold dear what is most dear.” Isherwood scripted a Rage in Heaven  (1941), starring Ingrid Bergman and Robert Montgomery and The Great Sinner (1949), starring Gregory Peck and Ava Gardner. Later, in the 1960s, he co-wrote the screenplay, with Terry Southern, for the classic film version of Evelyn Waugh’s The Loved One (1965), and then co-wrote, with Don Bachardy, a memorable take on Mary Shelley’s gothic horror, Frankenstein the True Story (1973), with James Mason, Michael Sarrazin,Jane Seymour and David McCallum.

During all this time, he continued to write novels, most notably Prater Violet, based on his first dealings with film-making and the rather brilliant, but under appreciated, Down There on a Visit. On a more personal level, in 1953, he met Don Bachardy, the man who became his life-long partner.

In the sixties, Isherwood achieved considerable success with his “devastating, unnerving, brilliant book” about middle-age, A Single Man. The novel’s central character George, is like Isherwood, and describes a day in his life, when he no longer fears annihilation but survival, and all the debilitating side affects old age will bring. Isherwood said the book was about:

“...middle age, because what I wanted to show was the incredible range of behavior in middle age, part of the time on eis quite tending towards senility, and other times one is rash that is way a way boyish, and apt to indulge in lots of embarrassing behavior, at the drop of hat.”

In the 1970s, Isherwood returned to the Berlin of his youth with his autobiographical memoir Christopher and His Kind, it was a crowning achievement to a literary career that had already delivered at least three or four of the twentieth century’s best novels.

Gore Vidal has said Isherwood is “the best prose writer in English,” which is perhaps true, as Isherwood’s writing is subtle, clever, and is always fresh, even after repeated readings.

This documentary A Single Man: Christopher Isherwood 1904-1986 wa smade not long after his death and composed from a selection of interviews from British TV from the 1950s-1970s.

For fans of Isherwood, the BBC has just completed a drama Christopher and his Kind, adapted form Isherwood’s book, starring Matt (Doctor Who) Smith in the title role, which will be broadcast later this year. Further information can be found here
 

 
The rest of ‘A Single Man: Christopher Isherwood 1904-1986’, after the jump…
 

Written by Paul Gallagher | Discussion