T.s. eliot

Do you think your mother slept with T.S. Eliot? That was the question I needed to ask the 98-year-old in front of me. It wasn’t easy. I’d never met him before. After some preliminary chat, though, I realised this affable man knew exactly where our conversation was heading and had pondered the question a good deal himself. The barrister Jeremy Hutchinson — Baron Hutchinson of Lullington — was the son of Mary Hutchinson, Eliot’s close friend. Infatuated with the poet for a time, she had met ‘Tom’ and his wife Vivien before Vivien’s adultery with Bertrand Russell, and some years before the publication of The Waste Land in 1922.

Like many a 20th-century publishing house, the fine old firm of Faber & Faber came about almost by accident. The inaugurating Faber — Geoffrey — was an All Souls don in search of a livelihood, who began his career in the post-Great War book trade by investing in the Scientific Press, publishers of the Nursing Mirror. There was trouble with the Gwyer family, owners of the original concern, who resisted the move into general books and disliked the poems of Faber’s brisk young protégé Mr Eliot, but by 1929 the sale of the Mirror for an eye-watering £190,000 (about £5 million at current values), allowed Geoffrey to buy them out and set up on his own.

Letters of Intent — letters of the intense. Keen readers of Cynthia Ozick (are there any other kind?) will of course already have copies of the books from which these often fiery essays have been selected. There’s a broad range of work represented here, from personal essays through to Ozick’s often rather profound philosophical enquiries into the meaning of art and religion — though the inclusion of no fewer than five essays on Henry James, two on Kafka, two on Virginia Woolf and two on Saul Bellow might make one wish for a little more breathing room, a little more room to roam. But this is a quibble. This is Cynthia Ozick, for goodness sake.

What’s this? An autobiography by Stuart Hall? Wasn’t he one of the guys who put the Eng. Lit. departments out to grass by arguing that it was senseless to talk about fictional characters as if they were real people when the truth was that real people were fictional constructs? Indeed he was; but don’t go thinking that just because Hall embarked, shortly before his death in 2014, on writing his life story, that he’d given up on the decentred subject. As he remarks early on in Familiar Stranger, despite our need to grasp our inner being, ‘we’ll never be ourselves’. It’s a nice line. It’s also a rare moment of clarity in a memoir that can be as cloudy and windy as a Turner sea study.

Thirty years ago, Russell Davies wrote a weekly sporting column in the New Statesman. It proved unsustainable and was soon discontinued, but not before Davies had described a boxer ‘genuflecting through the ropes’ — an image I have coveted ever since. Boxing is ‘a standing challenge to [a writer’s] powers of description’, according to Carlo Rotella and Michael Ezra in their preface to The Bittersweet Science. They are right. All physical action is a challenge to writers: YouTube can repair deficiencies, and is invoked several times in this anthology; but it is no substitute for writing, because writing adds focus to reality.

Can American publishers be dissuaded from foisting absurd, bombastic subtitles on their books as if readers are all Trumpers avid for tawdry, over-simplified stunts? Howard Bloch is a professor at Yale whose previous books have had medieval French literature, the Bayeux tapestry and medieval misogyny as their subject matter. He has taken an entertaining diversion in his career by writing a relaxed and accessible book about Mallarmé’s poem of 1897, ‘Un coup de dés jamais n’abolira le hasard’ (‘One toss of the dice will never abolish chance’) and its place in belle époque Paris. The professor’s erudition and light touch need no Barnum-style booming.

‘Sexual intercourse began / In nineteen sixty-three,’ Philip Larkin famously announced in his poem ‘Annus Mirabilis’, ‘Between the end of the Chatterley ban / And the Beatles’ first LP.’ But the key line is a far more private confession, caught in parentheses like a gloomy thought bubble: ‘(which was rather late for me)’. Few of Larkin’s contemporaries would have been more sympathetic than Alan Bennett.