Dr Fischer of Geneva or The Bomb Party

Last night I re-read in one sitting Graham Greene's novella Dr Fischer of Geneva or The Bomb Party (1980). One of the greatest of 20th century English novelists, Greene's novels contain acute and sometimes controversial observations upon the human condition. In his last ever novel, Graham Greene (1904 -1991) explores the nature of greed, in particular the greed of the rich. 

The novella (140 pp) is narrated from the perspective of the endearing character of Alfred Jones, a translator for a chocolate factory in Geneva. When Alfred meets Anna-Luise, the estranged daughter of the fabulously wealthy Doctor Fischer, he becomes her lover. Anne's father has acquired his enormous wealth through the invention of Dentophil Bouquet, a toothpaste which ironically Alfred notes, is antithetical to the effects of eating too much chocolate. Alfred is invited to attend one of Dr Fischer's notorious parties at which extraordinarily valuable presents are given to guests on sufferance of humiliation. At the first party which Alfred attends cold porridge is served to his sycophantic guests. The sadistic nature of Dr Fischer ensures his guests are well aware of his rules, one must endure considerable humiliation from him in order to receive an expensive gift. Without wanting to post spoilers to what is a short story which packs a punch, the denouement of the novel involves a variant of Russian roulette, in which the ultimate test of human greed is made. 

Throughout his novella Greene makes several noteworthy statements upon the human condition, he suggests, through the voice-piece of Alfred, that the human soul is like an embryo which develops from suffering. Because children and animals do not suffer except for themselves, Alfred proposes they do not have souls. A soul, states Alfred, requires a private life. 'If you have a soul you cannot be satisfied', he asserts. When asked by Anna-Luise whether her father, Dr. Fischer has a soul, Alfred replies, 'He has a soul alright, but I think it may be a damned one'. Alfred also notes that silence can only be enjoyed by those not experiencing unhappiness. 

But its the subject of greed, and by extension, its poisonous relationship to the soul, which is central to Greene's novella, especially the rapacious greed of the rich. Published at the onset of decades of sanctioned greed (1980) Doctor Fischer, not unlike certain members of the present-day British government, justifies his greed and contempt for humanity in general, as a healthy and natural instinct. Having little or no empathy or understanding of the suffering of others, once more not unlike the legislative policies of the present-day British government, Doctor Fischer is quite happy to feed his greed at the expense of others.

Often closely allied to cruelty, greed inevitably knows no morality and often quite mercilessly exploits the vulnerability of others. Its estimated that the wealth of the very richest in society has actually increased since the world recession of 2008 began.  Present-day economic policies in the USA and GB continues to increase the wealth of the very richest 1% of society at the expense of the poor, quite literally robbing from the poor in order to make the rich even wealthier. The madness of greed, as Greene masterly depicts in his novella, has neither shame or social conscience.  

Although it is purely advertising blurb, on this occasion I'm inclined to agree with The Times literary critic who's quoted stating on the back-cover of the Penguin edition of Greene's novella - 'Manages to say more about love, hate, happiness, grief, immortality, greed and the disgusting rich than most contemporary  English novels three times the length'.

Incidentally, and somewhat surprisingly, although Graham Greene's novella its set in Geneva, there's no mention of the famous landmark of the Swiss city, namely the Jet d' eau, the fountain which spouts water some 140 metres into the air (photo above). The setting of Geneva is however highly appropriate for the novella's theme of greed. Well-known as a city of great wealth, Geneva is listed as one of the most expensive cities in the world, as I personally discovered when visiting the Swiss city one summer and winter last century. I also vaguely remember watching a 1985 TV adaptation of Dr Fischer of Geneva or The Bomb Party with James Mason in his last ever acting role as Doctor Fischer, Alan Bates as Alfred and Greta Scacchi as Anna-Luise.

Edward Browne at the Court of Emperor Leopold

Emperor Leopold I in costume as Acis in La Galatea.

After his continental medical studies based at Padua, Montpellier and Leyden circa 1627-30, Sir Thomas Browne hardly ever left the city of Norwich, other than in a professional capacity, usually when visiting patients residing at one of the many ancient seats of the gentry scattered throughout Norfolk's wealthy farming hinterland.

In contrast to his father, Dr. Browne's eldest son, Edward Browne (1644-1708) travelled extensively before settling down to marriage and establishing a medical practise in London. Edward Browne was educated at Cambridge and became first a Fellow, and eventually the President of the Royal College of Physicians. He possessed characteristic traits associated with a youthful traveller - an insatiable curiosity towards the natural world including its people and their customs, the linguistic skills necessary to relate to all, and letters of introduction and relevant social connections to open doors and receive hospitality. Wherever Edward Browne travelled he acted as the ears and eyes of his stay-at-home father, keeping him informed in regular correspondence.

In total Edward Browne made three long journeys. In the first he travelled to Italy and came home through France. In 1668 he sailed from Yarmouth to Rotterdam visiting Leyden, Amsterdam and Utrecht, ending his journey at Cologne. His next destination was Vienna. Using the Hapsburg capital as a base he visited the mines of Hungary and travelled as far as Styria and Carinthia in southern Austria and Thessaly in Greece. Its in correspondence while in Thessaly that a strong reaction of parental anxiety and concern by his loving and indulgent parent's towards Edward Browne's proposal to travel as far as Turkey can be detected. His last European tour was in 1673, visiting Cologne, Aix-la-Chapelle, Liege, Louvain, Ghent and Bruges. Returning home, Edward Browne published a small quarto travelogue, the full title of which gives some indication of his wide travels - A Brief Account of some Travels in Hungaria, Styria, Bulgaria, Thessaly, Austria, Serbia, Carynthia, Carniola, and Friuli (1673). All three of Edward Browne's travelogues were published together in 1686. [1]

Crome Yellow

Aldous Huxley's first novel Crome Yellow (1921) is a dazzling display of wit which satirizes the follies and foibles of post world-war society. It established Huxley's literary name and anticipates in its themes, setting and didactic dialogue, subsequent literary works written in the 1920's decade by the English novelist and essayist.

The template of Huxley's early novels resembles those of the Victorian novelist Thomas Love Peacock (1785-1866) whose Nightmare Abbey (1818) and Crotchet Castle (1837) involve a gathering of a variety of characters in the setting of an ancestral manor. Once arrived, the various guests are used as voice-pieces to represent differing view-points and outlooks on life. By setting the main action within the walls of a castle or ancestral Hall, the 'English country house' approach to novel-writing, the novelist gives rein for characters to inter-act with each other and their view-point is satirized, often mercilessly, sometimes with hilarious effect, as in Peacock's dialogue novels. 

In Crome Yellow, Dennis, a would-be-poet searching for the meaning of life, visits the ancestral manor of Crome as a guest of Henry Wimbush and his wife. Once there he encounters several other guests, each representing a specific point of view, these include his hostess Priscilla who is fascinated with 'spiritual vibrations' and casts horoscopes of racing horses and football teams, the hedonistic painter and bon-viveur Gombrich who has aesthetically developed beyond abstract painting, and the journalistic-cum-mystic Mr. Barbecue-Smith who is capable of writing hundreds of meaningful aphorisms on life before breakfasting.

Throughout the novel topics such as the place of women in the modern world, sex and morality, art and the role of the individual in society are humorously touched upon, while event's witness the protagonist's increasing indecisiveness in love. In some ways early novels such as Crome Yellow and Antic Hay read not unlike an highly intellectualized version of a P.G.Wodehouse novel; over time however, the formula of P.G. Wodehouse's country house novels portray a fossilized English world, far removed from the realities and changes in the world.

The serious and deteriorating situation of the world in politics and economics during the 1930's obliged Huxley to take a less light-hearted approach to novel-writing to debate on humanity and its future, in particular humanity's relationship to science. Anticipating the theme of Huxley's later novel Brave New World (1931) its the cynical and slightly sinister Mr. Scogan in Crome Yellow who speaks of -

an "impersonal generation" of the future that will "take the place of Nature's hideous system. In vast state incubators, rows upon rows of gravid bottles will supply the world with the population it requires. The family system will disappear; society, sapped at its very base, will have to find new foundations.

Huxley's Brave New World retains its power to shock and challenge the reader and its mood of prophetic doom remains thought-provoking.

In his 1994 introduction to Crome Yellow, the English novelist Malcolm Bradbury (1932-2000) and co-founder with fellow novelist Angus Wilson (1913-1991) of the prestigious MA Creative writing course at UEA, Norwich,  stated -

For the fact is that, though there is personal satire involved, Crome Yellow, like any good book, easily transcends all its first stimuli. The characters become unmistakeably Huxleyan, just as their world of obsessive ideas becomes the means for the author to analyse a time when chatter does not disguise despair, people all live alone in their own individual worlds of story, and all lives, as Denis comes to see, are parallel straight lines...................................The comic novel of ideas is one of the treasures of British fiction, not always sufficiently appreciated. Crome Yellow is one of the modern classics, which is why, well after its time, it can go on being read with complete delight and pleasure. [1]

Although I've now read and re-read a fair percentage of Huxley's novels over the decades (see book-shelf bottom of page) Crome Yellow was the first novel I've ever read on a Kindle. It's a gadget which would have appealed to Huxley who suffered with poor eye-sight throughout his life, giving it as the main reason for migrating to California in 1937. I don't doubt that Huxley would have viewed a the Kindle reader as an example of how science and technology has transformed the lives of millions in the twentieth century. Huxley himself suffered from poor eyesight, but had he lived to witness its invention, he would with little doubt enthused over the Kindle reader's ability to enlarge its reading font.  

A few tenuous connections may be indulged and noted between Aldous Huxley (1894-1963) and Sir Thomas Browne. Both literary figures share a reputation of being leading intellectuals of their day who were capable of discoursing upon metaphysical questions in a bold and original manner. Both authors also had a penchant towards mysticism and are sometimes termed as mystics themselves. It's quite likely that Huxley read Browne, as he was in vogue during the 1920's due to attention received from Virginia Woolf and members of the Bloomsbury group. It's even possible that in terms of literary style, Browne may have influenced Huxley in his use of parallelisms, that is, stating the same thing twice within a single sentence in a variant manner, it's a literary technique found in the writings of both authors.

Aldous Huxley, like Browne before him, also took an interest in drugs. His essay on his empirical psycho-nautical experiments with mescaline, The Doors of Perception (1954) has now acquired a near legendary cult-status. All that Huxley attempted to articulate upon the transcendent may however be succinctly summarized in the lyrics of the song Tomorrow never knows from the Beatles album Revolver (1966)  in the line - It is not dying. 

It's interesting to note in passing that it was due to Browne's early interest in what is now known  as the medical fields of psychology and psychiatry, that the word 'Hallucination' was introduced into the English language. More recently, the eminent neurologist Oliver Sacks (b. 1933) discusses the psychological implications of medical case-histories such as phantom limbs, the bereaved sensing the presence of a deceased partner, synaesthesia and his own psycho-nautical experiments in his new book Hallucinations (2012).[2]

Of far greater interest, there seems to be some kind of play on words in  the title of Huxley's first novel. The colour chrome yellow, as it is correctly spelt, was first discovered by Louis Nicolas Vauquelin in the mineral crocoite (lead chromate) in 1797. Chrome Yellow became available as a pigment for oil-painters around 1816 after the cessation of the Napoleonic wars. Aldous Huxley has in all probability, rather slyly one suspects, conflated the fictitious setting of his first novel and the surname of an English painter with the technical name of a colour pigment.

The founding father of the Norwich School of Painters, John Crome  (1768 - 1821) was inspired by the natural beauty of the Norfolk landscape and painted several master-works, some of which are set in urban riverscapes. In his late work Late Afternoon on Norwich river circa 1819, John Crome draws the viewer's eye to the centre of his painting through colour. At the  painting's centre  a young woman seated at a boat's stern can be seen wearing a fashionable early Georgian dress. The colour of her dress, a bright chrome yellow, as painted by Crome, is reflected in water.

Finally, just as the composer Sergei Prokofiev's death was overshadowed by the dying on the  same day as Joseph Stalin, so too Aldous Huxley's death was overshadowed for on the 22nd of November, 1963, President John F. Kennedy was assassinated.

Notes
[1] 1994 Introduction by Malcolm Bradbury to Crome Yellow pub. Vintage Classics 2004
[2]  Hallucinations - Oliver Sacks - pub. Picador Nov. 8th 2012

Friar Bacon and Friar Bungay

The ancient city of Norwich has several interesting associations with western esoteric traditions. It was the retirement home of Arthur Dee (1578-1651) the eldest son of the Elizabethan magus John Dee. Arthur Dee accompanied his father in his travels and adventures across Bohemia and Poland in the 1580’s and remained a firm advocate of the esoteric tradition throughout his life. 

Norwich was also the home of Arthur Dee's friend and physician, Sir Thomas Browne, author of The Garden of Cyrus, an exemplary literary formulation of the type of Neo-Pythagorean thought first developed by John Dee.

The dramatist and pamphleteer Robert Greene, born in Norwich in 1558 is credited as one of the first writers to make a professional living, if at times precariously, from his pen. Nowadays Robert Greene (1558-1592) is remembered as the source of one of the few known accounts of Shakespeare and for his play The Honourable History of Friar Bacon and Friar Bungay (circa 1589). Greene’s drama centres upon the activities of Friar Roger Bacon (1214-1294) a British polymath and early inductive scientist. Bacon also had a reputation as a magician, one who reputedly devised a brass head which spoke prophecies. Little is known of Bacon's contemporary, the Franciscan friar Thomas Bungay, other than he was educated at Oxford (1270-1272) and Cambridge (1282-1283) and that he wrote a commentary on Aristotle's De Caelo.

In the original legend of 1555 Friar Bacon and Friar Bungay decipher an old Arabic manuscript  of instructions on how to make dead metals come alive. After much work they fasten a head  upon a pedestal of marble, placing clockwork inside it, attaching wires to its tongue and eyeballs. Unable to keep awake to hear their creation speak Friar Bacon orders his servant Miles to keep watch over the metal head. Miles however fails to wake his master at the critical moment when the Brazen Head speaks, first saying TIME IS, then TIME WAS and finally, when it is too late TIME IS PAST thus thwarting all endeavours and the destruction of the speaking head itself. 

According to the modern-day oracle Wikipedia, a Brazen Head (or Brass Head or Bronze Head) was a prophecy device attributed to many medieval scholars who were believed to be wizards, or who were reputed to be able to answer any  given question. It was always in the form of a man's head, and could correctly answer any question asked of it .  Cast in  either brass or bronze, it could be mechanical or magical, and  could answer freely or  be restricted to  simple "yes" or "no" answers.

Greene’s play may have been inspired by the success of the theme of magic in Christopher Marlowe's Doctor Faustus, which was  also based upon a long-standing medieval legend.  Marlowe’s character of Doctor Faustus and his quest remains embedded deep within the western psyche, while Ben Jonson’s  play The Alchemist (1610) debunks the mystical terminology of alchemy and the pecuniary goal its frequently associated with. Friar Bacon and Friar Bungay is also notable for being one of the very first drama's which have several plots occurring simultaneously.  

Robert Greene’s drama is one of the earliest literary works featuring notable figures from the western esoteric tradition. The mercurial place of the western esoteric tradition in the intellectual history of the Medieval and  Renaissance era has been explored by many writers since Greene and Marlowe's day, including the Spanish author Cervantes' picaresque prototype novel Don Quixote ( first part 1604) in which the character of Don Antonio Moreno has a brazen head created for him by an unnamed Polish pupil.

In Russian author Valery Brysov’s The Fiery Angel (1908) the Renaissance era of magus Cornelius Agrippa is revived, while in the Austrian novelist Gustav Meyrink’s The Angel of the West Window (1928) the life and times of John Dee are depicted. Magic features prominently in Mikhail Bulgakov's cult novel of satire and fantasy The Master and Margarita (1936) while British author John Cowper Powys (1872–1963)  in his novel The Brazen Head (1956) imaginatively conjures up the world of 13th century Wessex and Friar Bacon. Powys’s historical-fantasy-romance anticipates Belgian author Marguerite Yourcenar’s The Abyss (1968) an account of the life and times of the fictitious Zeno, a physician, philosopher, scientist and alchemist born in Bruges during the 16th century, which, in all probability, is based upon the biography of the Swiss alchemist Paracelsus. More recently, the Italian novelist Umberto Eco’s The Name of the Rose (1980) features the Sherlock Holmes-like character William of Baskerville, who may be based upon the English Franciscan friar William of Ockham  (c.1288-1338) an early advocate of the inductive method. Eco's The Name of the Rose, like the aforementioned novels, debates upon the medieval imagination, the tension between the perceived magic of early science and the powerful censorship and prejudices of the Church, as William of Baskerville discovers when the Inquisition is called to a monastery to investigate a series of  mysterious deaths.

Robert Greene's drama must have been well-known to the physician-philosopher Thomas Browne who, writing in his encyclopaedia Pseudodoxia Epidemica  displays an uncommon knowledge of the 'Great Work' of alchemy, interpreting the legend of the speaking, oracular brass head thus-

Every ear is filled with the story of Frier Bacon,that made a brazen head to speak these words, TIME IS. Which, though there want not the like relations, is surely too literally received, and was but a mystical fable concerning the Philosophers great work, wherein he eminently laboured. Implying no more by the copper head, then the vessel wherein it was wrought; and by the words it spake, then the opportunity to be watched, about the tempus ortus, or birth of the mysticall child or Philosophical King of Lullus.  Bk 7: Chapter 1

Links

Text of Greene's The Honourable Historie of Friar Bacon and Friar Bungay

The 1555 Legend upon which Green based his drama.

The Master and Margarita

Earlier this year I read once again The Master and Margarita. Mikhail Bulgakov's masterpiece is considered by many to be a major 20th century novel and a seminal work of a genre loosely defined as magical realism. However, it's not always an easy novel to read in either its volume or thematic scope. Because of its many-facted nature, Bulgakov's masterpiece is both a metaphysical fantasy and a satire upon life in 1930's Soviet Russia, which alternates between comic and profound, mystical and satirical with seamless ease. It’s also a novel which inter-twines history with politics and religion, as well as a testament to the triumph of artistic self-expression in the face of State censorship and oppression.

Mikhail Bulgakov (May 15th 1891-1940) studied medicine and travelled extensively throughout Russia before settling in Moscow as a theatre director and writer. He worked on and developed, never quite completing his masterpiece right up until his death in 1940. Due to censorship and the controversial nature of his subject-matter, his novel was not published in its entirety until 1967. Its recorded that Bulgakov spoke personally to Joseph Stalin on the telephone requesting permission to travel, a request which was inevitably refused. Given the Zeitgeist of 1930's censorship in the Soviet Union it was also inevitable that Bulgakov's out-spoken attack on the bureaucracy of Stalinist Russia would not see light until decades later. As the Soviet composer Dimitri Shostakovitch also discovered when Joseph Stalin visited the theatre to hear his opera Lady Macbeth of Mtsensk District the Soviet dictator was the supreme State censor of the arts.

The Master and Margarita describes the visit of a mysterious character named Woland accompanied by a bizarre entourage who play tricks upon Moscow's citizens. The irony being the Devil and his entourage's conjuring of pranks in what was once the world capital of State-endorsed atheism. The novel's comedy is supplied by the antics of a walking, talking, fat, cigar-smoking cat who accompanies his master Woland and much of the satire is centred upon Woland's exposing the greed, lust, vanity and pride of Moscow's citizens. The novel's rapid action is set in a theatre, both on-stage and back-stage, a psychiatric hospital and the apartments of ordinary Moscow folk and interspersed in the narrative are episodes transporting the reader to Roman-occupied Jerusalem during the trial and crucifixion of Jesus Christ. These are told from the perspective of Pontius Pilate and his tormented conscience. Not least among the novel's triple and inter-related story-lines is the love story of the Master and his redeemer, Margarita.

The Master and Margarita  is prefaced with an epigram from Goethe’s Faust-

                                         ‘…who are you, then?’

‘I am part of that power which eternally wills evil and eternally works good’.

The myth of the scholar who barters his soul to the devil for knowledge has a peculiar place in the Western psyche, representing as it does, inverted questions of the individual’s relationship to God. Bulgakov's novel is in many ways a development and variation upon the Faustian legend which various playwrights have been attracted to, including the Elizabethan dramatist Christopher Marlowe, author of The Tragicall History of the Life and Death of Doctor Faustus (1604). Several historical persons in the esoteric tradition have been proposed as a prototype of Faust. In the British esoteric tradition the Elizabethan magus John Dee is often proposed. A more likely figure from the country of the legend’s origin would be the Renaissance figure of Paracelsus.

The medieval legend of the questing scholar who barters his soul to the Devil was developed by the German genius and polymath Goethe in Faust I and II. The figure of Faust in Goethe’s drama, his gambling his soul with the Devil at risk of losing it, was of particular interest to the Swiss psychologist C.G. Jung. In fact, there’s sufficient material in Jung’s collected writings for a full-length essay on his interpretation of Goethe’s drama. Digressing slightly, I cannot resist quoting Jung's summarizing of the Faustian spirit and it's relevance to modern-day man -

It was from the spirit of alchemy that Goethe wrought the figure of the “superman” Faust, and this superman led Nietzsche’s Zarathustra to declare that God was dead and to proclaim the will to give birth to the superman, ‘to create a god for yourself out of your seven devils”. Here we find the true roots, the prepatory processes deep in the psyche, which unleashed the forces at work in the world today. Science and technology have indeed conquered the world, but whether the psyche has gained anything is another matter.  -CW 13: 163

As in Goethe's Faust Mikhail Bulgakov in The Master and Margarita asks questions on individual destiny, fate and redemption. Crucially, Bulgakov raises the relevance of the Faustian myth in his novel to modern times, holding up a mirror to the responses and moral choices available to the individual when faced with the temptation of evil when living under stifling State bureaucracy, censorship and economic hard times.

In his 1997 introduction Richard Peaver stated no-one has ever been able to explain why several minor characters in The Master and Margarita share the names of famous composers.  In  what may be a world first, I believe I can in fact explain why Bulgakov's minor characters are named after composers.

The Master and Margarita opens with a literary professor named Berlioz meeting the Devilish trickster Woland one evening shortly before being decapitated by a tram, slipping under its wheels from spilt sunflower oil, just as Woland predicts. The psychiatric hospital in which the Master is a voluntary resident and where several victims of Woland's diabolic tricks end up insane from their disbelief from encountering the Devil, is maintained by a suitably cold and clinical doctor named Stravinsky. The theatre where Woland first performs magical tricks upon an astounded Moscow audience is run by a much harassed director named Rimsky-Korsakov.

Quite simply, all three of these characters are named after composers who wrote music in which the Devil is prominent. The Romantic composer Hector Berlioz wrote a free-form oratorio entitled The Damnation of Faust. Igor Stravinsky in 1918 wrote a jazz-style chamber work The Soldier's Tale in which a soldier trades his fiddle to the devil for a book which predicts the future of the economy. The Russian composer Nikolai Rimsky-Korsakov famously re-arranged and orchestrated Modest Mussorgsky's tone-poem A Night on a Bare Mountain a musical portrait of a mid-summer Walpurgis Nacht and witches sabbath, as also occurs in a central chapter of The Master and Margarita.

The British author Salman Rushdie once stated that The Master and Margarita was an inspiration for his own novel of magical realism The Satanic Verses (1989). Twenty-three years since first reading Bulgakov's love-story fantasy I recognise echoes of my own life's love-history to certain characters of the novel; my first copy of it was a birthday present given in 1989 from someone special to my heart over decades. Every time I read Bulgakov's landmark novel of magical realism another meaning within its comic and tragic pages illuminates my understanding of my own progress in life. Bulgakov's masterpiece is capable of striking a deep chord on the themes of individual destiny and the relationship between creativity, love and mental illness.

The Master and Margarita has been served well in translation since its first publication in 1967. It's also been a rich source of inspiration to numerous artists, attracted to its strong characters and magical scenes. I've chosen only two images from a wide variety of art available on-line. There are also several Russian productions of The Master and Margarita on Youtube which are well worth checking out.

Editions

Harvill Press 1967 translated by Michael Glenny

Collins Havill 1988 reprinted (twice)
Picador 1997  translated by Diana Burgin and Katherine O’Connor

Penguin 1997 reprint 2000 trans.Richard Pevear and Larissa Volokhonsky

Also recommended
Mikhail Bulgakov -  Heart of a Dog (1925) first published 1968
A novella/long short story equally comic and profound. 

Wiki-links -  The Master and Margarita     Mikhail Bulgakov

Julian of Norwich

Portrait of a Young woman wearing a Coif  (c. 1435)

                     by Roger van der Weyden

The ancient city of Norwich has the rare distinction of being the home to two Christian mystics, namely the physician-philosopher Sir Thomas Browne (1605-82) and the anchoress Julian of Norwich (circa 1342-1416).

Browne has been a perennial bloom of English literature. Diverse writers have responded to his creativity, including in modern times, Jorge Borges and W. G. Sebald. In contrast, Julian of Norwich's Revelations of Divine Love  has from being little-known in the early 20th rapidly become recognised as a work of world spiritual literature, better known than either Browne's Religio Medici (1643) and certainly more than his advisory essay Christian Morals (circa 1670).

Julian of Norwich's fame as a writer of profound spiritual insight, and as the first woman to write a book in the English language, was however, not established until the 20th century. Her Revelations of Divine Love only fully entered public consciousness through a sympathetic edition published in 1901 by Grace Warrick and later when T.S. Eliot famously quoted her in his poem  'Little Gidding' of the Four Quartets in 1942.

And all shall be well and

All manner of thing shall be well

Julian of Norwich lived during the last years of the Black Death which devastated the population of Europe by one third. The later years of the 14th century were also an age of cattle disease, social unrest in the form of the Peasant's Revolt and several years of bad harvest; the harvest of 1369 being the worst in a 50 year era. Against this historical background, on May 8th 1373 aged 30, when seriously ill and preparing for her Last Rites, Julian experienced a series of  'showings' or visions of the Passion of Christ. Miraculously recovering from her near death experience, she spent many years contemplating the meaning of her Revelations which she believed were a spiritual message to be shared with all Christians.

Although describing herself as 'unlettered', the early Short Text and the later expanded Long Text of the Revelations of Divine Love are testimony to the long journey which Julian made in her life-time from visionary to profound and original theologian. Indeed, Julian's Revelations have been described as, 'the most remarkable theological achievement of the English late Middle Ages'. Throughout her Revelations of Divine Love Julian insists upon, and emphasizes her conformity to the doctrine of Holy Church.

Her mystical imagery includes the hazelnut as symbolic of God's love for humanity-

And he showed me more, a little thing, the size of a hazelnut, on the palm of my hand, round like a ball. I looked at it thoughtfully and wondered, ‘What is this?’ And the answer came, ‘It is all that is made.’ I marvelled that it continued to exist and did not suddenly disintegrate; it was so small. And again my mind supplied the answer, ‘It exists, both now and forever, because God loves it'.

It's also in Revelations of Divine Love that Julian, like Jesus in the gospels, uses the medium of parable involving a lord and a servant. Julian describes her vision of lord and servant as a parable of Man's relationship to God thus-  

The first kind of vision was this: the bodily likeness of two people, a lord and a servant, and with this God gave me spiritual understanding.... The lord looks at his servant lovingly and kindly, and he gently sends him to a certain place to do his will. The servant does not just walk, but leaps forward and runs in great haste, in loving anxiety to do his lord's will. And he falls immediately into a ditch and is badly hurt. And then he groans and moans and wails and writhes, but he cannot get up or help himself in any way. And in all this I saw that his greatest trouble was lack of help; for he could not turn his face to look at his loving lord, who was very close to him, and who is the source of all help; but like a man who was weak and foolish for the time being, he paid attention to his own senses, and his misery continued... 

Julian believed that the servant in 'good will and his great longing were the only cause of his fall', and throughout the Revelations there's an emphasis upon humanity's basically good, but flawed nature. Today, on at least three accounts, Julian is considered to be a theologian of significance. Her declaration-

'Just because I am a woman, must I therefore believe that I must not tell you about the goodness of God.'

- places her as a staunch supporter of the Christian feminist movement. Disassociated in gender from dubious and negative traits of patriarchy, Julian's highly original depiction of God as a caring and nurturing mother as well as father has resounding implications for Christian feminist theology. 

Secondly, according to Grace Jantzen, Julian's insights into spiritual growth and wholeness anticipate modern interest in psychotherapy and the attendant quest for spiritual insight which has dominated the 20th century. Thirdly, Julian's total lack of condemnation of humanity, far removed from standard medieval concepts of damnation and notions of God's wrath and judgement, distinguish her as a radical theological modern. There is no wrathful or angry God in Julian's merciful and compassionate theology,  she herself stating-

'For I saw no wrath except on man's side, and He forgives that in us, for wrath is nothing else but a perversity and an opposition to peace and to love'.

God's love for humanity is described by Julian as - 'our clothing, wrapping us for love, embracing and enclosing us for tender love'.

For Julian, sin occurs in human life not as stressed in medieval theology, because people are intrinsically evil, but because they are ignorant and lack self-knowledge. Through sin (a heavily-loaded word which many protest and recoil from upon hearing, without any real understanding of its meaning moral and spiritual wrong-doing) and the resultant consequences of sin in one's life, suffering humanity draws closer to an awareness of Christ's own suffering. In Julian's theology sin is necessary in life as ultimately it brings one to self-knowledge which in turn leads to acceptance of the role of Christ and God in one's life.

Julian of Norwich's vision of love and joy ruling God and Christ's relationship to humanity, her emphasis upon the feminine aspect of God and insistence upon orthodoxy are positive factors which will continue to attract new admirers to her spiritual classic Revelations of Divine Love throughout the world.

Julian's feast day is celebrated on May 8th in the Anglican and Lutheran Church and on May 13th in the Roman Catholic tradition.

Recommended books

Julian of Norwich  Grace Jantzen SPCK 1987 new edition 2000

Revelations of Divine Love trans. Elizabeth Spearing Penguin 1998

Consulted
The English Mystical Tradition  David Knowles Burns and Oates 1961
In search of Julian of Norwich Shelia Upjohn pub. Darton -Longman-Todd  1989

Web-Links   Wikipedia - Julian of Norwich
Web-site on Julian, her life and contemporaries Umilta

Essay on Julian and Sir Thomas Browne's literary and spiritual affinity at Umilta

Wind on the Heath

 There's a wind on the heath brother, who would wish to die ?

Norwich's connection to the Romantic movement is embodied in the figure of the author George Borrow (1803-1881). As a teenager Borrow studied languages, in particular the German language, under the tutorship of William Taylor (1765-1836). Taylor was the scholar who personally  influenced and encouraged Coleridge and Wordsworth to read his translations of German romantic literature. Together Coleridge and Wordsworth in the early poetry of their Lyrical Ballads (1798) inaugurated romanticism into English literature. This was in no small measure due to both poets being introduced to German authors such as Goethe and Lessing by William Taylor, a name nowadays scarcely known either inside or outside the medieval walls of Norwich.

George Borrow himself cuts as a dashing Byronic-like figure. Of athletic build and over 6 feet tall with a shock of white, not blonde, hair, as a young man he roamed the length and breadth of Britain in gypsy fashion as an itinerant tinker. He also travelled extensively through Spain, as well as visiting Morocco and Russia. Borrow was in near equal measure, an intrepid traveller,  a scholar and polyglot  and  on occasions, a rabid anti-papal preacher and belligerent pugilist. He's depicted above contemplating the splendid view of Norwich from Saint James Hill, adjacent to the large expanse of heathland known as Mousehold and is accompanied by the hat-wearing gypsy Petulenegro, an equally colourful character who, in addition to making his life-affirming statement, adopts the youthful Borrow to teach him the Romany language and traditions. 

George Borrow recounts his semi-autobiographical adventures on the highways and byways of England in Lavengro (1851) and in its sequel Romany Rye (1857). When the adventures of the self-styled scholar, gypsy, priest in Borrow's first book, The Bible in Spain (1843) were first published, such was the travelogue's popularity that its sales exceeded those of Charles Dickens' latest tale, A Christmas Carol  (1843). 

Borrow's homage to Norwich, the urban setting of his youth, and his acknowledgement of the city's civic pride can be found in Lavengro - 

A fine old city, perhaps the most curious specimen at present extant of the genuine old English Town. ..There it spreads from north to south, with its venerable houses, its numerous gardens, its thrice twelve churches, its mighty mound....There is an old grey castle on top of that mighty mound: and yonder rising three hundred feet above the soil, from amongst those noble forest trees, behold that old Norman master-work, that cloud-enriched cathedral spire ...Now who can wonder that the children of that fine old city are proud, and offer up prayers for her prosperity?

The classic panorama photograph of  Norwich looking south from Saint James Hill. From left to right above the horizon-line - the Norman Castle, the church of Saint Peter Mancroft, City Hall bell-tower and the Norman Cathedral (centre). On the right, the tower of Saint Giles and the Roman Catholic Cathedral are in view.

Wiki-links   -  George Borrow  -   William Taylor

October

Giovan Pietro Birago (c.1450-1513 ) was born in Milan. In 1490 he entered the service of the leading Venetian family, the Sforza. While illustrating a Book of Hours for the Sforza, his work was stolen. October is only one of three leaves which survived the theft. In 2004 the British Library acquired October for £191,000 adding  it to their collection of  illuminated miniatures by Birago.  

October, a calendar leaf from the Sfzora Book of Hours dating from circa 1490, is a work of tempera and gold on parchment measuring 11 x 9 centimetres. In the medieval tradition of portraying the labours associated with each month it depicts peasants making wine in the background. Its foreground is dominated by horse-riding nobility engaged in hunting, accompanied by their servants, hounds and falcons. 

The Maias

The Portuguese novelist Eca de Queiroz's vast novel The Maias (Episodes from Romantic Life) first published in 1888, chronicles the life and fortunes of one of Portugal’s most distinguished families, the Maias. As such it offers a portrait of upper-class Portuguese society from circa 1820 to 1887, centering specifically upon the life and times of its protagonist, Carlos da Maia. 

Carlos da Maia is lovingly  nutured by his grandfather Afonso da Maia. Upon coming of age he leads the life of a privileged Portuguese aristocrat. Crucial to the story is the fact that Carlos is the last in lineage of the ancient family of da Maia. Admired by his good-looks, his fine English thoroughbred horses and impeccable taste, Carlos da Maia eventually chooses to study medicine in order to become a doctor, however he is invariably distracted from advancing himself in his profession by love, social events, his many friends and his essentially weak nature.

Much of the  novel’s broad canvas of 700 pages is a near seamless procession of glittering balls, poetry recitals, nights at the theatre and opera house, dinner parties and evening soirées which Carlos gaily attends. There's also a great deal of drinking - Port, Champagne, Cognac and wine flow in abundance as well as much fine cuisine and dining throughout the novel. More often than not Carlos is pre-occupied with a love-affair and in finding accommodation, selecting furniture and interior decoration suitable for a tasteful boudoir  for romantic trysts with his mistress. It's only towards the novel’s conclusion that a devastating revelation occurs shattering the lives of both Carlos and Afonso da Maia. The ramifications and aftermath of this revelation profoundly alters the lives of both Da Maia's and brings the novel to its tragic conclusion.

Counterbalancing the essentially tragic tale there's a strain of quite subtle humour coursing through The Maias. The novel also includes a revealing chapter which describes the events of a horse-race meeting in which the love–hate relationship of the Portuguese towards the English is explored. De Queiroz  makes cultural comparative humour about both Portugal and England thus- 

The Maquis….. continued to inveigh against Portugal. ..'This is a country fit only for picnics and funfairs. Horse-races, like many other civilized pastimes, they enjoy abroad, require, first and foremost, an educated public. Basically, we’re nothing but thugs ! What we like is cheap wine, a bit of guitar music, a good brawl, and plenty of back-slapping bonhomie afterwards ! That’s how it is !'

                                   *          *        *          *            *

‘… the national anthem is the musical definition of a nation’s character. The rhythm of a country’s national anthem is, he says, the moral rhythm of the nation… The “Marseilles” marches forth like an unsheathed sword. “God save the Queen” advances, dragging a royal train…’

‘And ours?’

‘Ours minces along in a tailcoat’.

                                               *        *         *        *

‘And tell me something else,’ Senhor Sousa Neto went on, full of interest and curiousity . ‘In England, do they have the same pleasing literature we have here, writers of serials and important poets?’

Carlos placed the stub of his cigar in the ashtray and replied shamelessly:

‘No, no, there’s none of that.’

‘I thought as much,’ said Sousa Neto. ‘They’re all businessmen over there, I suppose’.

Eca de Queiroz (1845-1900) began writing The Maias in 1878 while resident in England when living in Bristol and took over ten years to complete it. An English translation of his masterpiece was not published until 1965. Margaret Jull Costa's acclaimed translation of De Queiroz's great novel highlights its full stature as a work of world literature and captures well the witty dialogue, eccentric characters and social foibles of  Portuguese upper-class as described by Queiroz. 

The Maias is a portrait not only of the moral decline of its protagonist, Carlos da Maia, but also by implication, in its depiction of inept politicians, petty bureaucrats and dilettantism in high places, the moral decline of nineteenth century Portugal itself. Not unlike Querioz's novel The Tragedy of the Street of Flowers (unpublished in his life-time) The Maias offers the reader a portrait of upper-class Portuguese society with a back-drop of a passionate love-affair, only to deliver a devastating revelation late in the novel, which colours and shapes its tragic conclusion.

Eca de Querioz  has been compared to Balzac for his sharp eye on human nature, to Marcel Proust for his description of the prejudices of upper-class society, and to Flaubert for his realism. In fact Queiroz greatly admired Flaubert for his development of Naturalism in writing. Yet, as Margaret Jull Costa points out in her excellent introduction to the 2007 Daedlus edition of Querioz’s masterpiece, The Maias fluctuates between sympathy and stern judgement towards its protagonist and floats ambiguously between Naturalism and Romanticism in style and content. Its this undefinable stance, somewhere between a harsh portrait of the cruel reality of life and romantic idealism which imbues The Maias with a quite unique sensibility. 

Eca de Queroz’s masterpiece is a novel which deserves to be much better-known, and it probably shall in time, due to Costa's decisive translation which showcases De Queiroz as a literary figure equal to his contemporaries, Tolstoy and Dickens. The real tragedy is no longer the moral decline of Portugal, but the neglect by western readers, translators and publishers alike, of a major nineteenth century novelist.

                                                           

                                                         *    *   *   *

Post top picture  - The front cover of the Dedalus paperback edition of The Maias (2007) reproduces a portrait of an aristocratic French woman by the French painter Ingres. Closer in geography, unable to find a striking Portuguese portrait, but having enjoyed viewing it at Dublin National Gallery, this post is headed by a portrait of  Dona Antonia Zarate, an actress painted by Goya cica 1805.

The Fiery Angel

Set in Renaissance Germany and the world of  magic and occult arts, ever since its first publication in 1907, Valery Bruisov's novel ‘The Fiery Angel', has been controversial. It’s full title is indicative of both its subject matter and stylistic tone

The Fiery Angel or a True Story in which is related of the Devil, not once but often appearing in the Image of a Spirit of Light to a Maiden and seducing her to Various and Many Sinful Deeds, of Ungodly Practises of Magic, Alchymy, Astrology, the Cabbalistical Sciences and Necromancy, of the Trial of the Said Maiden under Presidency of the Eminence of the Archbishop of Trier, as well as of Encounters and Discourses with the Knight and thrice Doctor Agrippa of Nettesheim, and with Doctor Faustus, composed by an Eyewitness. 

Written in an archaic style as if a Gothic romance or Renaissance adventure travelogue and with meticulous attention to historical detail, the story of Renata is narrated by the Knight Ruprecht, recently returned to Germany from his travels in America. Ruprecht recollects his tale from his first encounter with the beautiful Renata who is in a frenzied state. He tells of their relationship, study of the occult together and quest for the fiery angel of Madiel. Eventually the Inquisition are summoned to investigate Renata’s disturbed behaviour at a convent where an outbreak of collective hysteria erupts.

The three-cornered relationship between Renata, an attractive young woman who experiences visions, the Knight Ruprecht and Madiel, the fiery angel who manifests himself as the red-headed Count Heinrich and with whom Renata has an obsessive relationship, was in fact mirrored in the real-life menage-a-trois  between the novelist Bruisov himself, Nina Petrovskaya, a young 19-year old girl and fellow symbolist-decadent author, Andre Bely.

The Russian literary critic and novelist Valery Bruisov became a leading figure amongst Decadent and Symbolist artists of his time. He attended seances, spiritualistic meetings and lectures by scholars of the esoteric and became familiar with leading authors of occultism. Popular interest in the occult, the writings Madame  Blavatsky, founder of the theosophy movement and Rudolph  Steiner were enormous throughout Russian society during the first decade of 20th century. Bruisov's own complete knowledge of esoteric topics is evident throughout the novel which is in essence, like  Andre Bely’s ‘Petersburg’ (1916) a major  novel of  Russian Symbolism. 

It's often during epochs of intense socio-economic upheaval that Apocalyptic prophecies and visions proliferate along with revived interest in the occult arts. The early years of 20th century Russia were no exception to this phenomenon. The artistic movement of Russian Symbolism emphasised the  transcendent aspects of the arts to near religious status. 

Russian symbolist art’s messianic role is exemplified in Mikhail Vrubel's  'Six-winged Seraph' of 1904 (above painting). Composed as a kind of inner vision to the artist, reminding him of his mission and utterly Symbolist in theme and creed, Vrubal’s painting endeavours to rouse its audience from the trivia of everyday existence to awareness of spiritual phenomena. Moving in the same artistic circles, its impossible Bruisov was not aware of Vrubal’s  painting.

In brief, in the absence of social and political reform in Russia, the arts became imbued with religious fervour. The artist Kandinsky in his essay ‘Concerning the spiritual in art' (1911)  stressed this  religiosity of art, stating-

‘Every man who steeps himself in the spiritual possibilities of his art is a valuable helper in the building of the spiritual pyramid which will someday reach to heaven’.

                                       Valery Bruisov 1873-1924

In Bruisov’s novel the heroine Renata falls victim to religious intolerance and an all-too-literal interpretation of a single line of Biblical scripture, Thou shalt not suffer a Witch to live. ( Ex. 22 v. 18) This single verse tragically endorsed genocide throughout Renaissance Europe. Over-zealously interpreted by an exclusively male legislative and judiciary it resulted in the deaths of tens of thousands of lives, mostly single women, especially those who were young and attractive, or old and ugly, throughout Europe over three centuries.

In essence the subject-matter of ‘The Fiery Angel’ is that of the complex relationship between sexuality and spirituality. Written only a few years after Sigmund Freud’s seminal work of psychoanalysis ‘The Interpretation of Dreams’ (1900) psychiatry eventually abandoned concepts such as female hysteria. Today the heroine Renata would be diagnosed as perhaps suffering from a bi-polar disorder or  old-fashioned existential angst. 

'The Fiery Angel' has a precedent in the French Symbolist writer Joris-Karl Huysman’s  novel La Bas (1891) with  its description of  a black Mass. Aspects of its subject-matter are also echoed  in Aldous Huxley’s novel,  'The Devils of Loundon' (1953) with its depiction of religious hysteria. More importantly the general theme of the occult along with the Passion of Christ also occurs in Mikhail Bulgakov’s  masterpiece ‘The Master and Margarita’ (1940).

Incidentally it's a curious cultural coincidence that the Russian craze for occult learning during the pre-revolutionary years of the 20th century coincides with a similar cultural phenomena in 1650's England. Both historical  epochs were  characterised  by political instability and uncertainty. Following the civil war, execution of Charles I and establishment of the Protectorate of Cromwell  large portions of English society, unsure of direction, apprehensive of an impending apocalypse, searched for new knowledge and spiritual guide-lines. The same social phenomena occurred  in Russia centuries later. While England experienced the trauma of civil war, deposition of Monarch and a radical change of Government and then engaged in popular interest in esoteric affairs, early 20th century Russian interest in the occult preceded the horrors of world war, regicide, radical change of government  and civil  war. 

Bruisov fleetingly alludes to the city of Norwich in 'The Fiery Angel'  and there exists a curious connection between  Czarist Russia to Norwich worth exploring; for the actions of the archetypal historical character associated with the occult, the charismatic, haemophiliac-healing 'Mad Monk' Rasputin can be linked to a 17th century Norwich resident.  Among the alchemical manuscripts Rasputin is recorded to have stolen from the Romanov Czar’s Imperial Library were those by the English physician Arthur Dee when resident  physician to Czar Mikhail circa 1614-30 in Moscow. When Arthur Dee, eldest son of the Elizabethan magus John Dee, left Moscow he eventually settled at Norwich where he befriended the physician Thomas Browne.

When Arthur Dee died in 1651 a flood of esoteric literature began to  pour from British printing-presses. Many important esoteric titles made their first appearance in the English language during the 1650's decade,  including those of  the magus Cornelius Agrippa, author of 'Three books of occult philosophy' who makes a significant appearance in the action of  'The Fiery Angel'.

Arthur Dee’s close associate Thomas Browne confidently defended a belief in  angels in his Religio Medici declaring -

Therefore for Spirits I am so farre from denying their existence, that I could easily beleeve, that not onely whole Countries, but particular persons have their Tutelary, and Guardian Angels: It is not a new opinion of the Church of Rome, but an old one of Pythagoras and Plato; there is no heresie in it, and if not manifestly defin'd in Scripture, yet is it an opinion of a good and wholesome use in the course and actions of a mans life, and would serve as an Hypothesis to salve many doubts, whereof common Philosophy affordeth no solution. R.M.Part I:33

 Edition consulted -

'The Fiery Angel' by Valery Bruisov published by Dedalus  2005  with an  afterword by Gary Lachman

A Hero's Daughter

Andreï Makine's  novel 'A Hero's Daughter' was first published in 1990. Written in French it was translated into English in 2004 by Geoffrey Strachan. Andreï Makine was born in Siberia in 1957. Granted asylum in France in 1987, he wrote his first novel,  A Hero's Daughter in French but was unable to find a publisher, no-one believing that a Russian could write a publishable novel in French. He has since won  two of France's most prestigious literary prizes, the Prix Goncourt and Prix Medicis.

'A Hero's Daughter' is the story of the young Ivan Demisdov who fights bravely as a soldier during World War II, defending Moscow from the Nazi invasion. He falls in love with a nurse who saves his life on the battle-field, marries her, endures the years of famine and raises their daughter Olya. When years later his wife dies, Ivan begins to drink vodka heavily  and  wanders around Moscow, exploiting his status as an honoured military hero. The main story centres upon the 1980's decade  of Perestroika and Glasnost  initiated by President Gorbachev. Its during this era of  reconstruction and openness that Ivan  discovers his daughter Olya to be working for the KGB as a high-class call-girl. In return for Western-style luxuries and privileges Olya passes onto the KGB trade secrets of visiting business-men extracted during 'pillow-talk' with her clients. The historical events of Glasnost force both  father and daughter, Ivan and Olya, to self-examination and to question their role in society and  their contribution to its moral values.

Although it's is translated from French to English, 'A Hero's Daughter', in essence is a Russian novel in story, theme and insights. As in Olga Grushkin's novel, The Dream Life of Ivan Sukhanov also set in  the era of Glasnost and Perestroika,  Makine selects the 1980's decade, when radical social and political change in Russia occurred, as the setting of his novel.  It's a fertile  era for Russian asylum novelists, offering the opportunity to examine the re-structuring of Russian society from a relatively objective historical distance and to discourse upon the corruption and moral bankruptcy revealed by the new era of  Glasnost. 

Written with poignant moments of self-reflection and realization of individual worth, 'A Hero's Daughter' has been described as nothing less than the moral history of Russia. Its  a thought-provoking novel which displays Russian  themes in its preoccupations and descriptive power; conveying changes in Russian social history through the thoughts and deeds of  fictitious creations.  Another hallmark of Makine's novel and of many Russian writers in general is the seemingly effortless ability to involve the reader in the psychology of its characters, in alliance with an intense understanding of the human condition.

The Magic Christian

Last night I watched Joseph MacGrath's adaption of Terry Southern's 1960 novel 'The Magic Christian' (1969). Call me culturally biased but it seems to me that this British production of a Southern novel is a slightly more sympathetic adaption than 'Candy'. Nevertheless like 'Candy' it was creaky and badly-outdated viewing in places, even with the author writing the screen-play. The film has a song written especially for it by Paul MacCartney, with the band Badfinger performing 'Come and get it', as well as a number of cameo appearances, including British comedians, Graham Garden, Spike Milligan and John Cleese.

By far the highlight of the film and the funniest sequences occur aboard S.S. Magic Christian, a luxury cruiser including Yul Brynner in glamorous drag and boa-feathers crooning 'Mad about the Boy' to a shy Roman Polanski, a rampaging escaped King Kong gorilla, Dracula in the form of Christopher Lee frightening passengers, a genial but drunken Captain at the helm of S.S Magic Christian (Wilfred Hyde White) which is motored by galley-mistress Raquel Welch wearing a fur bikini and cracking a whip on topless female rowers; I lost count of how many celebrities make a fleeting cameo appearance in this film.

The message that, 'Everyone has their price' by the multi-millionaire Sir Guy Grand, acted by Peter Sellers, to his adopted son Ringo Starr, is demonstrated throughout the film, sometimes with funny consequences. The film's conclusion which highlights Sir Guy Grand's message, is a scene which shows that people will do anything, no matter how degrading to acquire money, even climbing into a large vat of vile fluids to collect bank-notes scattered in it. In essence, Terry Southern's black satire is an acerbic indictment  which satirizes the effects of amoral consumer capitalism upon ethics and morality.

Candy

These days I often purchase books from Charity shops enjoying finding random literature to read. Terry Southern's 'Candy' (1958) was one such book. Hailed as the 'first and best of our new wave of American writers, defining the cutting edge of black comedy' (Joseph Heller), Terry Southern's 'Candy' is a parody of Voltaire's 'Candide'. It's a satirical story of a big-hearted blonde who finds her affectionate nature invariably exploited. Candy's adventure to find the meaning of life discovers that American society is obsessed with sex and that every man she so innocently encounters only wants to have sex with her!

Well-written snappy dialogue, quite funny and playful in its depiction of sex, it's hard to believe that in England a book as tame as D.H.Lawrence's 'Lady Chatterley's Lover' with its occasional vulgar word was the test-case for the Obscene publications Act of 1959, while in America, 'Candy' a non-stop erotic comedy which borders on pornography at times, could be published with little public concern. It does get a little tiresome to read the phrase 'clitoral stimulation' over and over again, as if a naughty school-boy is writing, but then for 1958 that is quite a daring phrase. Ten years after its publication a film of the book was made which quite frankly must be one of the biggest turkey's of all time. Luckily a friend's phone-call interrupted my viewing a hammy performance by Richard Burton, a mere 17 minutes into the film. I simply could not return to watch further cringe-worthy performances by the likes of Marlon Brando, Walter Matthau and Ringo Starr.

Early in his career Southern seems to have met and been revered by nearly everyone associated with the 'Counter-Culture'. In Greenwich Village he associated with Jack Kerouac and Allen Ginsberg. Living in Paris he heard musicians such as Charlie Parker, Dizzy Gillespie, Thelonious Monk and Miles Davis perform. He also met leading French intellectuals Jean Cocteau, Jean-Paul Sartre and Albert Camus. In London he befriended the painter Francis Bacon, The Rolling Stones and The Beatles, appearing on the cover of 'Sergeant Pepper's Lonely Heart Club' album in sun-glasses.

Interspersed in Terry Southern's life (1924-1995) one of promise, disappointment, unsuccessful projects and an increasing reliance upon amphetamine pills, are several note-worthy screen-plays for 'cult' films. His career as a screen-writer developed when the maverick actor Peter Seller's gave a copy of his favourite book, Southern's 'The Magic Christian' to the film-director Stanley Kubrick to read. Terry Southern's screen-plays includes the films Doctor Strangelove (1964), Barbarella (1967), Easy Rider (1968) and the film of his novel 'The Magic Christian' (1969) which like Candy was written ten years earlier.

'The Magic Christian' is the vehicle for some of Southern's blackest humour in which he demonstrates that people will do anything, absolutely anything to acquire money. The writer Hunter S. Thompson said of the novel , 'I started reading The Magic Christian and I thought I was going to go insane... it was an incredible influence on me.' The film of 'The Magic Christian' (1969) is not a complete turkey but episodic and uneven with many cameo appearances including Roman Polanski, Yul Brynner, Raquel Welch as well as British comedians, John Cleese, Grahame Chapman and Spike Milligan.

Terry Southern's life, like so many artists associated with the 'Counter-culture' was cut short prematurely through his heavy drinking and drug-abuse. His black humour and sly surreal perspective upon American society and its values has many imitators but he was one of the first American 'counter-culture' writers to gain fame and notoriety. His influence endures.