Friday, August 19, 2016

The death of Lorca

The great Spanish poet and playwright Federico García Lorca was assassinated 80 years ago today by right wing military forces at the start of the Spanish Civil War. The circumstances of his death have always been controversial, indeed Lorca’s biographer, Ian Gibson, has written an entire book on the subject. Although Lorca himself was not a diarist, in 2012 the diary of a young male lover surfaced, shedding new light on Lorca’s last days. On a personal note, my own diary reveals not only that I met Gibson several times, but how I realised that his book on the death of Lorca had played a part in inspiring me to be a writer.

Lorca was born in 1898 near Granada, Spain, into a wealthy landowning family. He was educated at Granada and Madrid universities. While studying in Madrid, he lived within the Residencia de Estudiantes, one of Spain’s first cultural centres, where he became friends with Luis Buñuel and Salvador Dalí among many other creative types. In 1919-1920, he wrote his first play, The Butterfly’s Evil Spell, which was not well received, and, in 1921, published his first book of poems. Collaborations with the composer Manuel de Falla and more poems followed before Lorca’s second play, Mariana Pineda, with sets designed by Dalí, opened in Barcelona in 1927, to great acclaim.

In 1929-1930, Lorca travelled to New York, where he studied English and continued writing poetry; he also visited Vermont and Cuba. Back in Madrid, the newly established Second Spanish Republic appointed him director of a student theatre company, Teatro Universitario La Barraca, charged with bringing theatre to rural areas of Spain. During the next few years he wrote his most famous plays, Blood Wedding, Yerma and The House of Bernarda Alba. But, when the Spanish Civil War broke out, he was assassinated, on 19 August, by fascist supporters of General Franco - the leader who, in 1939, would win the war and rule Spain for more than 30 years. The circumstances of Lorca’s death have long been controversial, and his body was never found. Biographers continue to argue about whether it was Lorca’s left-wing political beliefs (though he had friends in both factions of the emerging civil war) or personal animosities to his homosexuality that was most to blame for his death warrant.

In the 1960s, the Irish-born Ian Gibson, a Spanish literature academic working in Britain, moved to Granada for a year to write a doctoral thesis on Lorca, but ended up publishing (in Paris) a Spanish-language book about the playwright’s death - La represión nacionalista de Granada en 1936 y la muerte de Federico García Lorca (1971). It was banned in Spain; and subsequently it was also published in English as The Death of Lorca (1973). Gibson concluded that Lorca was, indeed, shot by nationalist militia, along with others, as part of a wider campaign to eliminate left-wing radicals. Gibson, by this time domiciled near Granada, went on to publish his major, and very highly respected, two-volume Spanish biography of Lorca in 1985-1987, and then two years later, a one volume edition in English.

In 2015, the Guardian claimed that documents it had obtained (written in 1965 at the Granada police headquarters) contained ‘the first ever admission by Franco-era officials’ of their involvement in Lorca’s death. The article goes on: ‘The resulting documents suggest García Lorca was persecuted for his beliefs, describing him as a “socialist and a freemason,” about whom rumours swirled of “homosexual and abnormal practices”. After police carried out two searches on his home in Granada, he fled to a friend’s house out of fear. In August 1936, just one month after the civil war broke out, officers surrounded the house where García Lorca was hiding, while his friends tried to intervene on his behalf. García Lorca was arrested and taken by car to an area close to the place known as Fuente Grande, along with one other detainee, said the documents. He was then “executed immediately after having confessed, and was buried in that location, in a very shallow grave, in a ravine”. No details were given as to the content of his confession.’ Further biographical information is available from Wikipedia, or

There is no evidence that Lorca was a diarist (see A Companion to Federico García Lorca by Federico Bonaddio, 2007, Tamesis). However, in 2012, the 91 year old Juan Ramirez de Lucas, who had been Lorca’s last lover, died leaving behind a box of mementoes including letters and a diary - instructing his family to make them public. As was widely reported at the time (see El País for example), the letters (from Lorca) and de Lucas’s diary prove that Lorca, 38 years old, and de Lucas, only 19, had been planning in the summer of 1936 to flee to Mexico. Lorca, though, insisted that de Lucas seek permission from his family - permission that was not forthcoming, his father refusing to issue the necessary papers. Had the lovers left Spain at that moment in time, Lorca would not have died so young, and who knows what literary works he might have produced.

The Telegraph, for its take on the de Lucas story, contacted Gibson, who said: ‘It’s terribly exciting to learn new material exists that may shed light on his final days’, and ‘Lorca was very promiscuous and prone to infatuation but we never definitively knew who his last lover was or why he delayed leaving.’ Gibson revealed de Lucas’s name had come up during his own research on Lorca (which had begun while Franco was still in power), but that he had refused to be interviewed. ‘One can only guess that he wanted to keep his association a secret especially during the Franco years. It wasn’t easy being gay and especially if it was a relationship with someone as famous as Lorca.’ The Telegraph article concluded with another quote from Gibson: ‘We can only hope that the papers will be made available soon.’

Unfortunately, since 2012 there has been no sign that the letters/diary might be published, as was suggested at the time. In 2014, the British theatre critic Nicholas de Jongh, when writing a play on the death of Lorca, inspired by the de Lucas find, tried to find out what had happened to his papers, but was stonewalled at every turn. The play - The Unquiet Grave of Garcia Lorca - premiered in London in October 2014 - see The Evening Standard.

On a personal note, I met Ian Gibson several times at his home in Restabal, near Granada. My friend Rosy, and her husband Andy, had bought a holiday villa in the area, but it was only after being there for a while that Rosy discovered a cousin, whom she had not previously met, living nearby - Ian Gibson - and they soon became firm friends. One winter, I visited Rosy, with my seven-year old son, Adam, and she took us to Ian’s place. It was not until I was in his house, and browsing his bookshelves that I realised Ian had played a part, some 20 years earlier, in inspiring me to become a writer. Here is my diary entry:

15 January 1995
‘Ian proved a hearty fellow and quite charming. He loved Adam and the way he’d fallen asleep in his house without disturbing anyone, and he seemed on good form the thrice I saw him - on this evening, later in the week at a party, and then on New Year’s Eve at his party. But I must recount why my meeting with him was so significant.

In the mid-1970s, after my travels and when I was living in London with Harold, I think, I saw a modern ballet at Sadlers Wells, created by Lindsay Kemp and performed by Ballet Rambert. I can remember parts of the ballet to this day. It was called Cruel Garden and it so inspired me in some way that I wrote my first ever piece of fiction (apart from the shorts in my travel diaries) and I called it Cruel Garden, although it had nothing to do with the ballet or its subject (at least I don’t think it did). The point is that the ballet Cruel Garden was based on the life of Lorca and, in part, on Ian’s book The Death of Lorca. I did not even realise I had read the book until I started delving into my memories surrounding The Cruel Garden.’

The first Astronomer Royal

John Flamsteed, the first ever Astronomer Royal who catalogued hundreds of stars and laid the foundation stone of the Royal Greenwich Observatory, was born 370 years ago today. Later in life, he was in conflict with Isaac Newton, and with fellow astronomer Edmund Halley. He left behind an autobiography, many letters and a short diary, all of which were compiled, in the 19th century, into a large volume which included his catalogue of the stars.

Flamsteed was born on 19 August 1646 in Derbyshire, England, and educated in Derby, though from the age of 14 he suffered from chronic bouts of rheumatic illness, and, leaving school at 15, was unable to go to university. During his late teens and into his 20s he seems to have helped in his father’s brewing and malting business, and to have taught himself much about astronomy, through books and observations. In 1665, he presented, to William Litchford an expert on planets, his first essay, concerning the design, use and construction of an astronomer’s quadrant, including tables for the latitude of Derby. Around this time, he accurately predicted the solar eclipses of 1666 and 1668. He is also credited with the earliest recorded sightings of Uranus.

By this time, Flamsteed was corresponding with astronomers, such as Vincent Wing, and other learned figures, not least Henry Oldenburg, the secretary of the Royal Society, who had published a set of his astronomical projections in Philosophical Transactions. In 1670, Flamsteed visited Cambridge, and arranged to enter Jesus College, succeeding to an MA in 1674, the same year he first heard Isaac Newton’s Lucasian Lectures. Subsequently, he was ordained deacon, and was about to take up a living in his home county, when his patron Jonas Moore, Surveyor-General of the Ordnance, invited him to London. Moore had recently offered the Royal Society to pay for the establishment of an observatory. However, when Charles II set up a commission (including such notables as Christopher Wren and Robert Hooke) designed to investigate a specific proposal to calculate longitude by the position of the moon, Flamsteed was appointed as an official assistant to the commission, and supplied observations to test the idea.

Although the Commission found the specific idea was not worth pursuing, it recommended that the King should consider establishing an observatory in order to better map the stars and the motions of the moon in order to further investigate the lunar-distance method. Flamsteed was appointed by royal warrant ‘The King’s Astronomical Observator’ - the first English Astronomer Royal, with an allowance of £100 a year. A few months later, another royal warrant provided for the establishment of the Royal Greenwich Observatory, and it was Flamsteed who laid the foundation stone. The following year he was made a Fellow of the Royal Society, and he moved to live at the Observatory where he stayed until 1684, when he was also appointed priest to the parish of Burstow, Surrey, not far from Greenwich. In 1692, he married Margaret Cooke, the granddaughter of his predecessor at Burstow.

Flamsteed contributed much data, requested by Newton for his work Principia, but, when the latter was published it was Edmund Halley, then secretary of the Royal Society, who received much credit as sponsor of the work. Flamsteed, who had long disliked Halley, felt slighted by the lack of recognition for his contribution. This had a negative effect on Flamsteed’s relations with Newton, and the two thereafter were often in conflict. Indeed, when Flamsteed refused to publish his star data until properly verified, Newton and Halley conspired to obtain and publish them. Flamsteed managed to gather several hundred - but not all - of the published copies and burn them. Flamsteed died in 1719. Further information is available form Wikipedia,, MacTutor, The Messier Catalog, or Jesus College.

More than a century after Flamsteed’s death, in 1835, the Lords Commissioners of the Admiralty printed An Account of the Revd John Flamsteed: The First Astronomer Royal; compiled from his own manuscripts, and other authentic documents, never before published. Edited by Francis Bailey, this included Flamsteed’s History of his own Life, many letters, a few reports and memoranda, and a short ‘diary of events’ with entries between 1704 and 1713 - the latter having been found scattered through several pages of a letter-book containing a variety of other documents. Half the book, around 350 pages is taken up with the autobiographical material, the diary absorbing only a dozen or so page, and the other half of the book is taken up with Flamsteed’s Catalogue of Stars, consisting of table lists of stars and many associated notes. The work can be read freely online at Internet Archive or Googlebooks.

Here are three extracts from the Flamsteed’s ‘Diary of events’.

18 April 1706
‘Mr. Hudson here told me, if I would go up, Sir I. Newton would go to the Prince’s treasurer with me; urged me much: I went on the 19th mane: Sir Isaac was very grave: told me that, the Prince having subscribed a great sum to the Emperor’s loan, the whole money could not be received: that he had taken up monies for Mr. Churchill: would say nothing, when I asked if he had taken up also to pay me for my calculators; but that he must give bond to Mr. Churchill: I told him he had my catalogue and papers in his hands: he answered slightingly, that the catalogue was imperfect, which he knew when he received it sealed up, and was contented with it: I desired my MSS back, to correct the faults of the press: he told me we must go on slowly at first, quicker after, that in a few weeks he would return my MSS: Dr. Grey is at Oxford; suppose will not return till after term time: he must be paid for the needless collations, and they cannot be finished till his return: all this insincere practice I must bear, so long as God thinks fit: may his goodness deliver me speedily.’

19 July 1706
‘At London: waited on Sir I. Newton about printing 100 or 150 more copies: represented that I thought it needless, contrary to our agreement, &c.: he seemed to assent, and that we should go on, on the old foot: I suggested that it was probable Mr. Churchill had caused more to be printed than he ought, by 200: that if any besides myself had copies to sell, I should not make anything of mine: he agreed that nobody but I ought to have any copy to sell; and that, as I desired, the plates should be put into my hands, that I might cause them to be engraved and drawn off: promised to pay me £100, and I to send J. Hudson to him, to inform him about the Prince’s treasurer: promised to wait on him next week.’

1 August 1713
‘Sir Isaac Newton having, as I was told, presented his book of Principia, new printed, to the Queen, came to Greenwich, attended by Dr. Thorp, Dr. Halley, and his sons, Mr. Machin and Mr. Rowley. Mr. Hudson was with them, who had given me an intimation of it, the night before. But I had a letter of advice of it, directly from Mr. Machin. Sir I. Newton came first, about 3 o’clock; the others, half an hour after. Sir I. Newton said little till they entered; then he rose up and told me that by a Royal Order, by word of mouth, they were come down to visit the Observatory; to see what repairs were wanting, and what instruments. I gave them leave to go where they pleased, and sent my servant to wait on them, and show them all the places where repairs were wanting: and Mr. Clark and Mr. Ryley (whom I had sent for, on purpose to be witnesses of all that passed) accompanied them. I kept in my chamber: for I could not walk about with them. But, before they went out, I told them that the cogs in the greater semicircle were much worn; and that the instrument, for several reasons, was not very serviceable. And because Sir I. Newton had asked how we could observe a comet without it, I told him I could easily observe any comet that was visible in any part of the heavens, by a particular method that I knew of; but it was not now a time to talk of it; and that that instrument was my own. My friends and servants remember all that passed: I trouble not myself to report it. At parting, Sir I. Newton told me he had a Ptolemy of mine, and the minutes or night-notes of my observations, which he would return. I was glad to hear it; and told him I would retain his receipt for them. I pray God he be as good as his word.’

Sunday, August 14, 2016

The concept of decadence

‘[In] literary articles in journals edited by marxists the concept of decadence is appearing more and more frequently of late. i discover that decadence includes me. this is naturally of great interest to me. a marxist actually needs the concept of decline. it serves to identify the decline of the ruling class in the political and economic spheres.’ This is from the diary of Bertolt Brecht, one of Germany’s most important 20th century playwrights who died 60 years ago today.

Eugen Berthold Brecht was born in 1898 in Augsburg, Bavaria, into a mixed Catholic/Protestant family. He was educated at Königliches Realgymnasium, and then avoided the army by enrolling as a medical student at the Ludwig Maximilian University in Munich, where he also studied theatre. He never finished training as a doctor but did do some military service as a medical orderly. During the war, though, he had begun to write newspaper articles, under the name Bert Brecht, and he wrote his first play, Baal, in 1918, but it was not produced until 1923. He became increasingly involved in the theatre and cabaret world, being much influenced by the Munich comedian Karl Valentin. Brecht’s first produced play - Drums in the Night - was premiered in 1922 to rave reviews.

In 1917, Brecht had begun an affair with Paula Banholzer, who had a child, Frank, by him, though she died soon after. In 1922, he married the actress Marianne Zoff, and they had a daughter, Hanne, though that relationship soon broke down, and, in 1924, he had a son, Stefan, with Helene Weigel. Five years later, he married Weigel, and they had a second child, Barbara, who would eventually inherit the copyright to all of Brecht’s literary works.

In 1919, Brecht had joined the Independent Social Democratic party and become friends with the writer Lion Feuchtwanger. By 1924, they had collaborated on an adaptation of Christopher Marlowe’s Edward II - the first of many classic texts Brecht would adapt. The same year, he went to work at Max Reinhardt’s Deutsches Theater in Berlin - then one of the world’s leading theatres. He produced many well-received plays, not least The Threepenny Opera, adapted from The Beggar’s Opera with the composer Kurt Weill. Around this time, Brecht also published his first book of poems. In the early 1920s, Brecht started using the first name Bertolt, to rhyme with that of his collaborator, the playwright Arnolt Bronnen.

Brecht had long been a student of Marxism, but, by the mid-1920s this interest was leading him to write political dramas such as Rise and Fall of the City of Mahogonny, also with Weill. In fear of Hitler, Brecht fled from Germany in 1933, first to Scandinavia, settling on the Danish island of Funen, then, in 1941, to California, writing poems and plays (such as Galileo and Mother Courage and Her Children) all the while. After the war, in 1947, he was interrogated by the House Un-American Activities Committee, but the day after left the US to return to Europe.

After staying in Switzerland to begin with, Brecht settled in East Berlin, where he launched the celebrated Berliner Ensemble, but he wrote few plays in his last years focusing more on directing and teaching young directors and playwrights. In 1955, he received the Stalin Peace Prize, and, the following year, he died on 14 August. Further information is available from Wikipedia, Encyclopædia Britannica, or Theatre Database.

Brecht seems to have kept a diary in childhood, although only one journal - the so-called Diary 10 written in 1913 (but which refers to earlier diaries) - appears to have survived (for more on this see Bertolt Brecht: A Literary Life by Stephen Parker at Googlebooks). He kept a diary in his early 20s: Bertolt Brecht Diaries 1920-1922, edited by Herta Ramthun, translated and annotated by John Willett, published by Eyre Methuen, 1979. And again he kept a diary from 1938 until the end of his life (though he recorded little in his last years): Bertolt Brecht Journals 1934-1956, translated by Hugh Rorrison, edited by John Willett, and published by Methuen, in 1993. A review in New Statesman and Society of the latter, quoted by the publisher, described the book as ‘a marvellous, motley collage of political ideas, domestic detail, artistic debate, poems, photographs and cuttings from newspapers and magazines’. Here are several extracts.

24 July 1938
‘there are concepts which are difficult to defend because they spread such boredom whenever they arise, like DÉCADENCE. there is naturally such a thing as the literature of the decline of a class, in it the class loses its serene certainty, its calm self-confidence, it conceals its difficulties, it gets bogged down in detail, it becomes parasitically culinary, etc. but the very works which identify its decline as a decline can scarcely be classed as decadent. but that is how the declining class views them, on the other hand the FEAST OF TRIMALCHIO exhibits all sorts of signs of formal decadence. and if ELECTIVE AFFINITIES is not decadent, WERTHER is.’

15 August 1938
‘FEAR AND MISERY OF THE THIRD REICH has NOW gone to press. lukács has already welcomed the spy as if i were a sinner returned to the bosom of the salvation army. here at last is something taken straight from life! he overlooks the montage of 27 scenes, and the fact that it is actually only a table of gests, the gest of keeping your mouth shut, the gest of looking about you, the gest of sudden fear etc. the pattern of gests in a dictatorship. now epic theatre can show that both ‘intérieurs’ and almost naturalistic elements are within its range, that they do not make the crucial difference. the actor will be well advised to study the STREET SCENE before playing one of the short scenes. the aforesaid gests are not to be performed in such a way that the audience wants to stop the scene, empathy is to be sedulously controlled, otherwise the whole thing is a dead loss. the montage, a process that has been so thoroughly condemned, arose here out of letters from dudow who needed something for his little proletarian theatre-group in paris. so the proletarian theatre in exile is keeping the theatre alive. while in moscow maxim vallentin, the one-time director of a berlin agitprop group, has gone over to bourgeois theatre and announced that in art an appeal has to be made to the emotions, which can only mean reason has to be switched off.’

18 August 1938
‘by offering only formal criteria for realism LUKÁCS, whose significance is that he writes from moscow, is in the final estimate handing readers who are avid to learn on a plate to those famous contemporary bourgeois novelists on whom he has bestowed great, if slightly embarrassed compliments, because they display the said formal features (even if they are not so ‘happy’, ‘pure’ and ‘creative’ as the old masters of the great early period). they become his realists (he allays any suspicion by contrasting them with a form of ‘decadence’, to which DOS passos and presumably i too belong), whose descriptions exclude the class struggle (‘do not not take sufficiently into account’, ‘do not yet fully encompass’), so that the reader himself then has to unravel the complicated reflections which the ‘decadents’ incorporate in their books, the very reflections which establish that the events depicted derive from the class struggle. they all display LUKÁCS’S hallmarks, HEINRICH MANN presents such a ‘tangle’ of different human fates in his HENRI QUATRE that nobody can find his way around in it, and doesn’t his brother THOMAS unfold the ‘whole life of the biblical joseph’ in all its ultimate fullness! in HAMSUN we have ‘very involved, very indirect relationships’ by the dozen, the class struggle is less in evidence in all three, but naturally we can add that for ourselves, for ‘in the last resort’ everything is class struggle, such obtuseness is monumental.’

10 September 1938
‘in literary articles in journals edited by marxists the concept of decadence is appearing more and more frequently of late. i discover that decadence includes me. this is naturally of great interest to me. a marxist actually needs the concept of decline. it serves to identify the decline of the ruling class in the political and economic spheres. it would be stupid for him to refuse to recognise decline in the artistic sphere. eg literature cannot exclude the great shackling of productive capacity by the capitalist means of production. i am restricting myself in the first instance to my own production. my first book of poems, the DEVOTIONS FOR THE HOME, is undoubtedly branded with the decadence of the bourgeois class. under its wealth of feeling lies a confusion of feeling. under its originality of expression lie aspects of collapse. under the richness of its subject matter there is an element of aimlessness,. the powerful language is slack. etc etc. seen in this light the subsequent SVENDBORG POEMS represent both a withdrawal and an advance. from the bourgeois point of view there has been a staggering impoverishment. isn’t it all a great deal more one-sided, less ‘organic’, cooler, ‘more self-conscious’ (in a bad sense)? let’s hope my comrades-in-arms will not let that go by default, they will say the SVENDBORG POEMS are less decadent than DEVOTIONS FOR THE HOME. however i think it is important that they should realise what the advance, such as it is, has cost. capitalism has forced us to take up arms. it has laid waste our surroundings. i no longer go off ‘to commune with nature in the woods’, but accompanied by two policemen. there is still richness, a rich choice of battlefields. there is originality, originality of problems. no question about it: literature is not blooming. but we have to beware of thinking in terms of outdated images. this notion of bloom is too one-sided. you can’t harness ideas of value, definitions of power and greatness, to an idyllic conception of organic flowering; it would be ridiculous. withdrawal and advance are not separated according to dates in the calendar. they are threads which run through individuals and works.’

7 October 1938
‘the fall of Czechoslovakia is remarkable for the way it happened. eg people continue to speak about that country as if it were still the same, and for that reason some of its actions are surprising. people have understood that it has to hand over something to germany, but now it is handing over more, in fact everything as far as everybody is concerned. including the jews and refugees. people forget that this defeat has brought different class forces to the helm, so the state has become a different person in law, one can no longer speak of czechoslovakia. and how did this come about? ‘england’ could not enter into a war which its russian ally would have won. the russian ally could not enter into a war which the russian generals would have won. france could not enter into a war which the popular front would have won. and none of them, naturally, could lose a war.’

23 November 1938
‘finished LIFE OF GALILEO. it took three weeks. the only difficulties arose with the last scene. just as in the case of ST JOAN, i needed a neat stroke at the end to ensure that the audience had the necessary detachment. even somebody empathising without thinking must now feel the a-effect when he empathises with galileo. with rigidly epic presentation an acceptable empathy occurs.’

Wednesday, August 3, 2016

Casement’s black reputation

Roger Casement - an Irish-born British diplomat, human rights activist, and, ultimately, an Irish nationalist - was executed for treason exactly a century ago today. His journals - which revealed him as a promiscuous homosexual - were successfully employed by the British government to blacken Casement’s name and undermine calls for clemency. However, subsequently, the diaries were kept secret by the government, leading some biographers and many others to believe they were a forgery. It was not until 2002 that an independent forensic examination proved, finally, they were genuine.

Casement was born in 1864 in Sandymount, near Dublin, the youngest son of an Ulster protestant and soldier. The family moved frequently, but both parents died young and the children became dependent on relatives. Casement went to live with his uncle in County Antrim, and was schooled until 1880, when he went to Liverpool to live with an aunt. After working in a shipping office, he signed up, aged 19, as a purser on board a ship heading for the Congo. The following year, he returned to stay in the Congo working as a surveyor on a rail project. There he met the writer Joseph Conrad and also the explorer (and sculptor) Herbert Ward who he then accompanied on a tour of the US.

Casement returned to Ireland where he took a job in the British customs department, before, in 1895, gaining a first consul appointment in Portuguese East Africa. Thereafter, he took similar posts in Angola (1898-1900), Congo Free State (1901-1904) and Brazil (1906-1911). He gained international recognition, though, for a report (published in 1904), commissioned by the Foreign Office, into the state of government in the Congo, which revealed atrocious cruelty in the exploitation of native labour by white traders - for more on this see Conrad, Hottot and the Congo. And, after producing a similarly disturbing report in 1912 on the Putumayo River region in Peru, he was awarded knighthood.

Ill-health forced Casement to return to Ireland in 1912, and he retired from the British consular service in the summer of the following year. Thereafter, his views on Irish nationalism having strengthened, he helped form the Irish Volunteers. In 1914, he went to the US promoting the cause and seeking funds, and there, at the outbreak of the war, began scheming to gain German support for an Irish revolt. This led him to travel to Germany, seeking to recruit a brigade from Irish prisoners-of-war captured in the first months of the war. However, German support proved minimal, and his plans never materialised in any substantial way. The few German munitions he did manage to secure for shipment to Ireland were intercepted by the British; and he, himself, was arrested a few days after being transported to Ireland by a German submarine.

Casement was charged with treason, sabotage and espionage against the Crown, and was remanded, on suicide watch, at Brixton prison. The prosecution had some legal trouble arguing its case, and resorted to circulating extracts from Casement’s diaries, which contained details of his (illegal) homosexual activities, to influence those calling for clemency (among which were notables such as Sir Arthur Conan Doyle and George Bernard Shaw). Casement was hanged at Pentonville prison at 9am on 3 August 1916. Further information is available at Wikipedia, BBC, Stephen Stratford’s website, Irish Historical Mysteries. The Times report of the execution is also available at Stratford’s website.

Casement, it seems, was an intermittent diarist, keeping an account of himself from time to time in pocket diaries (with space for each day of the year) or cash agenda note-books. The term ‘Black Diaries ’ was coined by by Peter Singleton-Gates and Maurice Girodias in their 1959 book of the same name. Some 20 years earlier (in 1936), though, William J. Maloney had published a work claiming that he had proved the diaries used to blacken Casement’s name had been a forgery - something many people had people believed since his execution. It was not until 2002, following a detailed and independent forensic examination of the diaries, that it was proved, beyond reasonable doubt, that they were genuine.

The same year, Belfast Press, brought out Jeffrey Dudgeon’s Roger Casement: The Black Diaries with a study of his background, sexuality, and Irish political life. It contains Casement’s diaries from 1903, 1910 and 1911. This was the first time, the Black Diaries, with all of Casement’s promiscuous thoughts and actions laid bare, had been published. Dudgeon includes a large amount of additional information, in fact creating more of a biography supplemented by a few chapters on the diaries. The book runs to 650 pages less than half of which are diary texts, and the diary extracts themselves are heavily adulterated with Dudgeon’s notes in bold fold enclosed by square brackets, often doubling or more Casement’s own words.

Some pages of Roger Casement’s Diaries - 1910: The Black and the White edited by Roger Sawyer can be read at Googlebooks (Pimlico, 1997). Extracts from One Bold Deed of Open Treason: The Berlin Diary of Roger Casement 1914-1916 (Irish Academic Press, 2016) can be read at The Irish Times. The following extracts, though, are from Dudgeon’s The Black Diaries (some pages of which can be previewed at Amazon).

20 November 1911
‘. . . Stopped at Mucuà at 4 p.m. and saw two rubber trees in tapping. Young Cearense of Sobral still there - splendid stern, thighs and testeminhos - a lovely boy. . . Fonseca at Santa Theresa higher  up - it is Peruvian territory. [On blotter] Got some mails by “Manco” today at 10.30 a.m. meeting “Hamburgo” on her way up . . . Saw fine Indian boy in Janissius canoe that brought him over. A big strong fellow - nice face and great thick stiff one which he felt often under grey pants.’

21 November 1911
‘Arr. Nazareth at 10 and after some hours there up to Marius Levy’s where shipped 65 cases rubber (101⁄2 tons weight) . . . Back to Nazareth - young Italian, stout but very nice face, huge stern, thighs and immense big one, long, thick, soft, he fingered often and one could see it hanging down 6” or 7” inches long - through very thick trousers too. Left Nazareth at 5 with “Le Journal” from Belém. Up to 5 Oct. giving Italy-Turkey war and strike in Ireland. At union and mouth of Javari at 9.30 and on to Leticia.’

22 November 1911
‘At Leticia since 11.30 p.m. Left only at 7.30 a.m. taking up Peruvian officer and family and enormous mass of rubbish of furniture including 5 jerrys! Cold is again very bad. Left letters to Tom, Gallwey, O’Reilly and Bernardino. . . Clock on church is painted strip of canvas always at 11.45 a.m.! . . . Met “Elisa” and got papers - including a “Truth” with part of Paredes’ summing up. José came and asked me for photo in Iquitos - looking lovely and then at 8.30 for cigarette papers and later I called and pulled mine and asked for water. Also with Pilot’s boy.’

23 November 1911
‘Lovely day. We are steaming very well and expect to be in Iquitos before 10 a.m. tomorrow. Read letters and drafted a long despatch to F.O. giving as my opinion the unlikelihood of Peruvian Government acting seriously . . . lots of logs still - often striking them hard. At 8 p.m. a huge one nearly swept away a man and case of rubber. . . Return to Iquitos.’

24 November 1911
‘Arr. 9.55. Antonio Cruz came on wharf and will come Sunday 8 a.m. Saw some big ones on Indian boys and then up ladder at top a young Spaniard with huge soft big one under blue pants. At my corner the lovely 6 foot young Inca policeman and his up at full half cock! Simply enormous, all down left thigh and thick too - fully 71⁄2 and huge testeminhos too. I now am sure of the Indians! Many letters from Mrs Green and others. Saw the Cholo policeman again going to lunch and it was huge, half down his thigh and he 6 foot and lovely. Then the small policeman passed and his too enormous. Then Paredes young Editor also very big. José came at 3.15 looking very nice and it was half up and showed big. Gave 5/8 for Spanish boo. Saw the young policeman while talking to José and it was simply huge. Both pure Cholos.’

Monday, July 25, 2016

Libertie of the kirk

James Melville, a teacher and protestant activist, was born all of 460 years ago today. He was the son of a Scottish minister, and nephew to Andrew Melville a leader of the Presbyterian movement, but he is best remembered for his diary which presents ‘a vivid and intimate portrait of church life’ in Scotland at the time, and is a prime source of biographical information about his uncle.

Melville was born on 25 July 1556, son of the minister of Maryton, Angus, Scotland. He was sent to school in nearby Montrose, and was taught the rudiments of languages, before entering St Leonard’s College, St Andrews, where he matriculated in 1570. After university, also in St Andrews, he was invited by his uncle, Andrew Melville, a Presbyterian, to teach at Glasgow University. From 1875, he taught Greek classics, maths and philosophy, but then, in 1850, moved, again following his uncle, back to St Andrews, St Mary’s College, where he mostly taught Hebrew. He married Elizabeth Durie in 1853, and they would have six children.

The following year, Andrew Melville fled to England, and soon after his nephew also (in fear of actions against Presbyterians directed by bishop Patrick Adamson). However, the tide turned against Adamson and by the following year the Melvilles were back in St Andrews. In October 1586, James Melville was made minister of Anstruther and Kilkenny in Fife. In 1590 he was appointed as a commissioner for preserving and promoting protestantism in Fife. He published several religious works; and in 1594, with his uncle, he accompanied King James I on an expedition against the northern Roman Catholic earls.

As moderator of the General Assembly in 1589, Melville opposed James’s episcopal schemes. Indeed, the latter part of his life was blighted because of his ongoing opposition to royal supremacy over matters ecclesiastical - not least by being detained for some years outside Scotland. After the death of his wife, he married again in 1612, but then died himself in 1614. Further information is available form Wikipedia or the Oxford Dictionary of National Biography (log-in required).

Parts of James Melville’s diary were first included in David Calderwood’s 1678 History of the Kirk of Scotland, but the diary itself was given a first printing by the Bannatyne Club in 1829, and then by the Wodrow Society in 1842. The latter was edited by Robert Pitcairn and entitled The Autobiography and Diary of Mr James Melvill, with a continuation of the Diary (volume 1 and volume 2 both freely available at Internet Archive). According to the ODNB, the diary ‘paints an admiring picture of one of its leading figures, his uncle Andrew, and presents a vivid and intimate portrait of church life which is generally faithful to the facts.’ It is also an important primary source for Andrew Melville’s biographers.

Here are two extracts, though the spelling and language (as reproduced in the the 1842 edition) are rather archaic - as far as I can tell there are no modern versions.

27 April 1597
‘The 27 of Apryll, anno 1597, Mr Robert Pont, Moderator of the last lawfull Generall Assemblie, cam to St Androis of purpose to keipe the dyat apointed for the Generall Assemblie; bot finding nan convenit ther bot the Province of Fyff, cam to the New Collage Scholl, the place apointed for the said Assemblie, and ther, efter incalling of the nam of God, and humble confessioun of sine, that haid procured that brak and desolatioun, cravit mercie, and fensit the Assemblie ther ordourlie in the name of God, taking notes and documents of protestatioun for the libertie of the Kirk. But, alas! even then that libertie began to be almost lost! For thairefter, to utter it in a word, whar Chryst gydit befor, the Court began then to govern all; whar pretching befor prevalit, then polecie tuk the place; and, finalie, whar devotioun and halie behaviour honoured the Minister, then began pranking at the chare, and pratling in the ear of the Prince, to mak the Minister to think him selff a man of estimatioun!’

5 May 1609
‘The Commissiouneris foirsaid conveinit in the morneing, at the place befoir nameit; and, efter prayer, the Moderator propounit that ane on aither syde sould be nameit and appoyntit to reassoun the first questioun. Mr Patrick Galloway, being deeyrit to speik, answerit, that it wes most convenient to reassoun the matter be wrytt: First, For eschewing of jealousie, idle, and hait speiches, superfluous digressiounes, and impertinent discourses, quhairby Brither mycht be irritat, and tyme unprofitabilly spent: 2dly, For avoyding different reportis to be maid be the Brither of different judgmentis efter the Conference endit: And, thairfoir, he desirit the uthir pairtie, that they would schortlie and cleirly sett downe thair oppinioune in Articles, tuiching that matter, and Reassounes quhairby they would confirme the same; promiseing that the said Oppiniounes and Reassounes sould be plainelie and brotherlie answerit, so succinctlie as wes possibill to be concivit and expressit be thame in wrytt. Maney thingis wer objectit againes that answer and offer; but all the objectiounes wer answerit. And so, the Ministeres, standing constantlie to their resolutioune, the uthir partic desirit that they mycht advyse among thamselff annent the premisses: Unto the quhilk desyre the Ministeres aggrieit, and removit thame selffis; and the uther partie, with his Majestie’s Commissiouner, sat still.’

Sunday, July 24, 2016

Diary briefs

Diary of a pyramid builder! - Mail Online

Battlefield Surgeon - University Press of Kentucky, The Daily Beast

Abolitionist’s diary goes online - Historical Society of Pennsylvania, Philly Voice

Mary Astor’s Purple Diary - W. W. Norton, Oregon Live

Appeal to buy Shenandoah officer’s diary - State Library Victoria,

Why I killed my children - Daily Mail

Anaïs Nin reading from her diary - Open Culture

Great War Somme diary - Staffordshire Newsroom

Stonington war diary auctioned - The Westerly Sun

Václav Havel prison diaries - Radio Praha

Diary of young Philippine hero - Inquirer

Housewife behind enemy lines - Manchester Evening News

Bobby Sands film based on diaries - The Irish News

Diary exposes fake bill scam - Bangalore Mirror

Wednesday, July 20, 2016

Vice-chancellor Priestley

‘The Emperor blubber itself has a very delicate flavour. As a treat this morning Campbell gave us each a small strip of Emperor’s breast done as a filet-de-boeuf, with a small piece of fat on top, and it was an excellent change after the unvarying stews we have had for months.’ This is Raymond Priestley, born 130 years ago today, writing in his diary while holed up in Antartica with the so-called Northern Party of Scott’s ill-fated Terra Nova Expedition. The Northern Party survived two winters in the region, and Priestley went on to become a highly respected university administrator, and to maintain his diary habit all his working life.

Priestley was born, on 20 July 1886, into a Methodist family in Tewkesbury, England. His father was headmaster of the local grammar school. While studying geology at Bristol university he was recruited to Shackleton’s Nimrod expedition to Antartica (1907-1909). He was also a member of Scott’s ill-fated Terra Nova expedition in 1910-1912, and subsequently wrote Antarctic Adventure. He entered Cambridge University, but when the war intervened, he served as adjutant at the Wireless Training Centre, and then with the 46th divisional signal company in France. During the war, he married Phyllis Mary, and they had two daughters. After the war, he completed his studies, as well as writing several books: Breaking the Hindenburg Line, The Work of the Royal Engineers, 1914–19: the Signal Service, and a work on glaciology. He also helped set up the Scott Polar Research Institute in the University of Cambridge in 1920.

From the 1930s, Priestley held a series of academic and government administrative posts in England, and then in Australia, in particular becoming Vice-Chancellor of the University of Melbourne (1935-1938), and then Vice-Chancellor of Birmingham University (1938-1952). In 1944, he spent several months in the West Indies with a committee from the UK tasked with investigating the possibility of setting up a university in the region. He was knighted in 1949, and retired in 1952, but continued to work in different capacities (including, for example, being president of the Royal Geographical Society from 1961 to 1963). He died in 1974. Further information can be found at the Australian Dictionary of National Biography, University of Birmingham or Wikipedia.

Priestley kept a diary throughout his life, from his Antarctic expedition days to his chancellorship of Birmingham University. He based his first book - Antarctic Adventure - on the diary he kept while with Scott’s expedition. Published by Fisher Unwin in 1914, first editions of this book can sell for over £1,000; however, it is also freely available online at Internet Archive. Although Priestley says, about half way through the narrative, that he has tried to avoid the diary form as much as possible, he then says ‘it is impossible to give a lifelike description of our routine, our thoughts, and our feelings during this abnormal life without the help of some extracts from the records written at the time’. Thereafter, he quotes liberally from his own diary.

The diaries Priestley kept while in Australia were published by Melbourne University Press in 1998 and again in 2002 as The Diary of a Vice-Chancellor: University of Melbourne 1935-1938. A review can be found at Don Atikin website. And, an excellent and detailed summary of all 14 of Priestley’s diaries held by Birmingham University, from 1938-1954, can be found on the university’s website, as can a photograph of one of the manuscript diaries. Furthermore, The University of the West Indies website offers two links to the text of a diary Priestley kept in 1944 while visiting the region. (However,  at the time of writing, the links do not seem to work.)

Here, though, are several extracts from Priestley’s diary as found in Antarctic Adventure.

22 February 1912
‘The worst of a wind is that you can do nothing to it. If you are being annoyed by a man or an animal bigger than yourself, you can at least get on the other side of a fence and throw stones at him or it, but here we are hung up by an infernally cold wind and able to do nothing against it whatever, while it is gradually tearing our tent in pieces. We are all getting less physically fit and feeling the cold more, and this is showing itself by the continual presence of cold feet, and by constant attacks of cramp in different parts of the body. It is to be hoped that the ship is all serene and not blown out north by the wind. Before the gale commenced Levick and Abbott reported that they saw a trail of smoke off the ice tongue, and we therefore think that she may be sheltering in Relief Inlet, but at times like this all of us have strong imaginations. We are all suffering very much, and myself in particular, from an almost intolerable itching of the feet when circulation is restored after they have been very cold. The barometer isn’t much use to us nowadays. As far as I can make out if it goes up it means the gale is going to be stronger, if it goes down the wind is going to increase. When the barometer remains steady the gale remains steady too. Cheerful, isn’t it?’

7 May 1912
‘While still in bed this morning we heard the gale blowing hard outside, and when we got up we found we were snowed in as we have never been before. During the morning Dickason and I tunnelled through the drift and have managed thus to extend the roof of the shaft for about 6 feet in length. We found a regular hurricane outside, but no drift. Levick and Browning have butchered three of the Emperors, and Campbell and Abbott have therefore been cooking under great difficulties, for the galley is full of meat and carcasses, and there is a bad backdraught down the chimney. We had a lot of Emperor penguin meat and blubber in the hoosh to-night. The meat has been a great success, but the blubber has made the gravy pure oil, and has beaten some of us, though I am thankful to say not myself. The Emperor blubber itself has a very delicate flavour. As a treat this morning Campbell gave us each a small strip of Emperor’s breast done as a filet-de-boeuf, with a small piece of fat on top, and it was an excellent change after the unvarying stews we have had for months. I am reading my diary of last year in monthly parts for the amusement of the company. We all find an especial, though a tantalizing pleasure in the few descriptions of meals I have entered as part of our routine at Cape Adare. We still feel the monotonous diet, but are otherwise quite reconciled to our fate.

The cave is keeping quite warm at present, and of course the insulation is much improved by each wind with drift. All the sea ice beyond the bay has gone out again, and the Drygalski Ice Tongue and the moraines are hidden by dense drift, which is just missing us except in the strongest gusts. Dickason and I were both blown down once or twice when we were standing at the entrance to the shaft.’

25 May 1912
‘Westerly wind with heavy drift continues, and we have been drifted up all day. This afternoon we had to do away with the blubber fires because of the smitch, for the drift kept on filling the chimney and preventing the draught from flowing. Afterwards Dickason started the hoosh over the primus, and this rapidly used up our limited supply of oxygen. First of all the reading-lamps went out and refused to be lighted with a flaring spill, and then the spill went out and could not be relighted at the primus. Next the primus went out and could not be relighted because the matches would not burn. By this time we were opening up the chimney and the drift at the entrance to the shaft, and Campbell drove his ice-axe through the latter with immediate relief to everybody. Since then things have gone pretty well, but we all have had bad headaches, which we had put down to the smitch, but which were more probably due directly to lack of oxygen. It is a great nuisance this new danger having arisen after we thought we had avoided the utmost malice of the weather, but it is lucky we were not caught at night and all asphyxiated in our beds. I suppose that the coating of ice which has formed on the inside of the snow-roof has spoiled the ventilation. After dinner Campbell and Abbot cleared the drift from the mouth of the shaft and pushed the flagstaff down the chimney.’

14 June 1912
‘Half a gale blowing. Clear, and stars shining. Another day in bed. Rather smitchier than usual. We have just had a word who should go out and clear the chimney and cut away a projecting piece of sealskin in our passage roof which is a constant menace to our eyes and noses, and which has perhaps been the cause of more hasty language than any other individual thing about the camp. I have not yet mentioned one essential portion of our equipment - the toothpick. Campbell is the only member of the party who still possesses a toothbrush, and the present diet is eminently suited to cause the collection of small shreds of meat between our teeth. In spite of this we are able to keep them in as good condition as we can at home by the judicious use of bamboo toothpicks with sharp points to remove the meat and of pieces of soft wood to rub the front of the teeth. These latter instruments are made from the white wood of the Fry’s chocolate boxes, and their blunt chisel ends are moistened and chewed first to secure pliability. They are rather better than a toothbrush. The hard biscuit, of course, looks after the grinding surfaces for us. I think at present that I am looking forward to a good bath and a clean up as much as I am to a good meal of bread, butter, and jam, which is saying a good deal. Another tin of oil was finished this morning. We have every reason to be satisfied with the oil consumption, which is becoming less and less, while Dickason watches over his primus like a hen over her chickens. The men are just finishing off their private sewing, and then they start work on their tents. The day after one has been messman is always the pleasantest of the three, for one feels one has earned the right to a day in bed.

To-day has been a great day of controversies. First Levick and myself found ourselves at variance about the chocolate ration, and the amount of chocolate left at Cape Adare. The second argument was whether or not one of the expedition fruit-cakes would freeze at spring sledging temperatures, and this was followed by two lengthy battles between Campbell and Levick on points of national ethics and imperial politics respectively. Finally we had a three-cornered battle as to which is the most economical and soul-satisfying way of eating one’s single biscuit. We are all three set in our own way: Campbell eats his at breakfast, Levick part at breakfast and part in each hoosh, and myself part when I feel the want of it, about midday or a little earlier, and part at dinner.’

6 July 1912
‘The worst of our day as messman is the infernal crick we get in our backs from never being able to stand upright. Mine is at present aching terribly, but the pain soon passes off in our bags.

Levick is too broad for our inner door, and we have just spent an amusing five minutes watching his attempts to get through with a joint of meat in one hand and a cooker in the other. Luckily, as a rule we run to slimness, and no one else has much trouble.

The atmosphere is becoming tolerable again, but we have ruined the pure white of the roof and wall until a few more smitchless days enable pure crystals to form over the dirty ones.

Browning has slight indigestion and Dickason has complained of a bad stitch in his side, but otherwise we are in excellent health.

We are running out of penguins and of bones for the fire, and shall be short of sea ice in a day or two, so I hope for fine weather, for the penguins especially make all the difference between palatable and monotonous hoosh.’

Monday, July 18, 2016

The battle for Okinawa

Today marks the 130the anniversary of the birth of Simon Bolivar Buckner, Jr., who led American soldiers and marines in the Battle of Okinawa - the single bloodiest battle in US naval history. Though he had won the island of Okinawa, Buckner lost his life as the conflict was coming to an end. He left behind a notebook of diary entries about the battle which, 60 years on, was published alongside the diary of the commander who took his place.

Buckner was born on 18 July 1886 in Munfordville, Kentucky. The following year, his father, Confederate General Simon Bolivar Buckner, would become Governor of Kentucky, and, later would try, unsuccessfully, for a seat in the senate. Buckner Jr. attended Virginia Military Institute and then West Point military academy before being commissioned in the infantry. He served in the Philippines, and then, during WWI, in the Washington D. C. offices of the air service. Thereafter, he was employed as an instructor at West Point and other establishments, developing a reputation as an exacting drillmaster.

In 1940, Buckner was promoted brigadier general (major general in 1941) and placed in command of the Alaska Defense Command, a position he held until 1944. He is said to have worked diligently with very limited resources to build air bases and train the only combat infantry unit in the area, but clashed repeatedly with the commander for the northern Pacific. He saw some action when the Japanese attacked a part of the Aleutian Islands, and proposed an advance on the enemy from Alaska - though the idea was not adopted.

Having been promoted again to lieutenant general, Buckner was sent to Hawaii to organise the 10th Army (comprising army and marine corps units), and charged with invading the strategic Ryukyu Islands. The Battle of Okinawa, between April and June 1945, was one of the bloodiest in the Pacific, partly because of the ferocity of the fighting and the intensity of Japanese kamikaze attacks, but also because of the sheer numbers of Allied ships and armoured vehicles employed. Indeed, it is considered the single bloodiest conflict in the history of the US Navy. Subsequently, the US was reluctant to invade the Japanese mainland, and it decided on the use of atomic bombs.

Buckner died from some of the last Japanese shelling on the island in June 1945; he was then replaced by Joseph Stilwell. Buckner was posthumously promoted to the rank of general. Further information is available from Wikipedia, the Kentucky Encyclopaedia, Remember the Deadeyes, or The Pacific War Online Encyclopedia.

Buckner left behind a logbook with handwritten diary entries of the Okinawa campaign. The military historian Nicholas Evan Sarantakes, now an associate professor at the Newport Naval War College, put Buckner’s diary together with a journal kept by his successor Stilwell and edited them for publication in 2004 by Texas A&M University Press as Seven Stars: The Okinawa Battle Diaries of Simon Bolivar Buckner, Jr. and Joseph Stilwell. He suggests three reasons for giving importance to the two diaries: ‘as history, these journals offer a new window into the last days of World War II’; they are a record of high-level leadership in conflict; and they provide a unique opportunity to witness the conduct of joint operations (i.e. marine and army corps). Some pages can be read at Googlebooks and at Amazon.

12 March 1944
’After lunch we went out with Adm. Turner in his barge and boarded our command ship the Eldorado. . . . We sailed shortly before six, a long looked-forward to occasion.

After sailing, Turner took me aside and dwelt on the difficulties and uncertainties of our mission which he characterized as a “son of a bitch” and asked what I thought about it. I expressed confidence and started to argue him out of his misgivings. I found then that he wasn’t worried at all, but was trying to find out if I was.

After supper, Turner talked to Post and myself about the shore party setup of the Marines whom he has less confidence in along these lines than he has in Army units. He said that the Marine shore party work at Iwo Jima was poor, particularly that of the V Corps and the 4th Div.’

6 April 1944
‘The Japanese cabinet fell today.

The northern flank continued to advance without opposition and the southern force [began] to [encounter] a strong Jap position.

During the morning Adm. Spruance came aboard and with Adm. Turner and myself conferred on the next phase of the campaign. We all were in agreement. Adm. Spruance’s flagship had recently been hit by a suicide plane whose bombs went completely through the ship, broke a propeller shaft and exploded on the other side of the vessel. He is now on the New Mexico.

From 3:30 p.m. on we were under constant air attack largely by suicide planes. Six or seven ships were hit, mostly destroyers in our picket screens. Also an ammunition ship which was abandoned.

Very few planes got to the transport area. I saw only four hit the water near our ship.

An ammunition dump blew up on Kadena airfield and a gasoline barge burned on shore - possibly from falling anti-aircraft shells that shot down a friendly plane and caused 41 casualties in shore parties.’

4 May 1944
‘Last night heavy air attacks struck Yomitan field and the fleet. Eight men were killed in a Hospital. Our CP and the field were shelled again. In the south the Japs tried to envelop both our flanks in barges and penetrate the center at the same time during the night that the air attacks came (about midnight). Each attacking force was a Bn. Naval gunfire sank the eastern Bn, the center was stopped but the western group got ashore opposite the 1st Mardiv. About 200 in one group were killed but part of another group got inland with about 80 Jap infiltrators that are still at large.

After breakfast I had a staff meeting and gave out decision regarding the capture of neighboring islands for radar stations to control planes. Adm. Turner is impatient about this, so the 2nd Mardiv will have to be used if speed is important.

Spent the day at Ie Shima. Thomas (Iscom) recovering from pneumonia. Interviewed his staff to see how I could help their project. They predict readiness of field for fighter group; May 12. Adm. Spruance sent staff officers to find out date. Our land based planes shot down 45 Jap planes today. I sent congratulatory message to Mulcahy - my third.’

Night music struck down

‘I feel as if a lovely delicate child, tender and humorous, had been knocked down by a truck and lay dying.’ This is the US playwright Clifford Odets, born 110 years ago today, commenting in his diary on the opening night reviews of his play Night Music. Though regarded as a key figure in the development of American theatre for his socially-relevant dramas, neither his name nor his plays are remembered as well as those of Tennessee Williams or Arthur Miller, or example, perhaps, because he gave in to pressure from McCarthy to name names, or because of, some writers suggest, his ’narrative of decline’.

Odets Was born in Philadelphia on 18 July 1906 the oldest of three children born to Jewish immigrant parents. Later the family moved to the Bronx, New York, where he went to high school, but dropped out to study acting. Having relocated to Greenwich Village, he worked in a number of jobs (such as radio elocutionist and camp drama counsellor) and performed with various theatre groups, before landing a first casting on Broadway in 1928. He worked with the Theatre Guild for a bit, and was then selected, in 1931, to join the newly formed Group Theatre. Famously, this based its performances on the kind of method acting devised by Stanislavski and recently introduced into the US. Elia Kazan, who would go on to become a much feted director on Broadway and in Hollywood, was another member.

Employed only as a rarely used understudy, Odets began to use his time to write plays, but continued to take part in the Group Theatre’s training and rehearsal schedules. His plays, inspired by and suffused with Group Theatre’s techniques, were left wing and socially hard-hitting. However, at first they were not good enough for the group’s leader, and it was not until early in 1935 that one was produced - Waiting for Lefty. The opening night was a huge success. Within weeks, the group was opening with Awake and Sing!, a play Odets had been working on for some time, and which Encyclopaedia Brittanica (1979 edition) says ‘foreshadowed’ Arthur Miller and ‘related Odets with Tennessee Wiilliams’. Further plays followed, including Rocket to the Moon (1938) which led to Odets being featured on the cover of Time, and the highly successful Golden Boy. However, Night Music, which opened in 1940 with Elia Kazan in the lead, was a flop; and it was a disaster for Group Theatre, presaging the company’s end.

By the mid-1930s, Odets had relocated to Hollywood (though he would continue to travel to New York regularly) to work as a screen writer, often declining to be credited, and as a director (None but the Lonely Heart, 1944). There he met and married the German-born actress Luise Rainer (who by then had won best actress awards in 1936 and 1937), though the marriage would last but three years. He marred another actress, Bette Grayson in 1943, and they had two children before divorcing in 1951. Odets was investigated by Joseph McCarthy in 1953, and is suspected of having named names; certainly he continued to work in Hollywood, but lost friends.

Though there have been several major biographies of Odets, his name is clearly not as well remembered as that of Eugene O’Neill, Tennessee Williams or Arthur Miller.
 On the centenary of writer’s birth, in 2006, The New Yorker concluded: ‘It’s possible that Odets’s narrative of decline is what has kept him from claiming the privileged place in the theatrical discussion that he deserves. Odets’s plays showed a way for the next generation of playwrights to combine linear movement with psychological complexity and depth. He brought a new demotic music to stage speech. His subject was always the struggle of the heartbroken American soul under capitalism. “I will reveal America to itself by revealing myself to myself,” Odets wrote. His plays and his life, full of unique lament and liveliness, eloquently fulfill his prophecy.’ Further biographical information is also available at Wikipedia and Penniless Press.

Odets kept a diary for just one year, in 1940, though it was not published until 1988 (by Grove, New York) with the title The Time Is Ripe: The 1940 Journals of Clifford Odets. The book is not widely available in the UK (no copy at the British Library, for example), and there is not much about it online either. However, Kirkus Reviews has a short piece; and Library Journal says this: ‘His journal shows a gigantic ego lavishing severe judgment on friend and enemy alike, and an overactive libido seeking the perfect woman (he had access to a breathtaking array of them). Although Odets was hard on everyone, he judged himself most severely. This journal records the dark journey of a life and time out of joint yet seeking their proper form. Interspersed are glimpses of major figures in modern American theater and film.’

The only quotes from the book I can find online are thanks to The Sheila Variations (‘not a film’) blog - both extracts below concern Odets’s play The Night Music.

22 February 1940
‘This is the time for opening the play. Harold gave the cast a brief line run-through, but I stayed at home, sleeping, resting, lounging it out against my slowly constricting nerves. Restless, finally, I jumped into the roadster and rode out to Sunnyside to take Bill and Lee to dinner. I chattered away, quite calm, really, to that peculiar point of indifference which comes from having done all that one can do in a situation. We rode into New York and had dinner across the street from the theatre, at Sardi’s. A lot of the people who are going across the show were eating dinner there - it was like running the gauntlet. Stella Adler was there with a party, smoke-eyed and neurotic - usually when you are dying she is more dramatic about the event than you are! Finally I pushed my way through a lot of well-wishing people and went over to the theatre. The cast was in fine shape, quietly making up in their own rooms; no noise, no excitement backstage, things routine and orderly.

The audience was no better or worse than the usual opening night crowd. If anything they were an edge more respectful. Harold I had met outside the theatre for a moment - he was white and tired and was going to see a musical comedy, true to his habit of never attending an opening. I, on the other hand, get a kind of perverse spiteful pleasure from attending an opening. I saw none of the critics but shook hands with several friends.

The performance of the play was tip-top - the cast had never been better. The play suffered from what had always been wrong with it because of a certain lack in the direction - a lack of clear outlining of situations, a lack of building up scenes, a certain missing in places of dramatic intensity. But none of these things was enough to do vital harm to a beautiful show, smooth, powerful and yet tender, fresh, moving, and touching, with real quality in all the parts. But I could see during the first act that the audience was taking it more seriously than it deserved; and I knew that the old thing was here again - the critics had come expecting King Lear, not a small delicate play. It all made me very tired, but at the end I thought to myself that it didn’t matter, for the show was more or less what I intended; it was lovely and fresh, no matter what the critics said. And I knew, too, that if another and unknown writer’s name had been on the script, there would have been critical raves the next day.

People surged backstage after the curtain - they all seemed to have had a good time. There were the usual foolish remarks from many of them - “Enjoyable, but I don’t know why,” etc., etc. Also, a good deal of insincere gushing from a lot of people who would like nothing better than to stick a knife in your ribs. God knows why!

I invited some people down to the house for a drink. Along came the Eislers, Kozlenkos, Bette, Julie [John] Garfield, Boris Aronson, old Harry Carey and his wife, Morris and Phoebe later, Harold, Aaron Copland and Victor [Kraft[, Bobby Lewis and his Mexican woman, etc. etc. We drank champagne, Scotch when the wine ran out, smoked, filthied up the house, listened to some music. Then they went and I dropped into bed, dog-tired, unhappy, drunk, knowing what the reviews would be like in the morning. In and out I slept, in and out of a fever - all of modern twentieth-century life in one day and a night.’

23 February 1940
‘The biggest shock I have experienced since the auto crash in Mexico a year ago was the reviews of the play today. Perhaps it was the serious lack of sleep which kept me so calm and quiet. I wanted to send the Times man a wire telling him I thought his notice stupid and insulting, but I gave up that idea after a while. Equally distressing to me was the attitude at the office, an ugly passivity. They are quite inured there to the humdrum commercial aspect of doing a play this way - close if the notices are bad.

My feelings were and are very simple. I feel as if a lovely delicate child, tender and humorous, had been knocked down by a truck and lay dying. For this show has all the freshness of a child. It was Boris A. who called the turn. He said, “This show is very moving to me, a real artwork, but I don’t think they will get its quality - it is not commercial.”

In the morning I cashed fifteen thousand dollars worth of the baby bonds I hold. I thought to spend it on advertising, to keep the show open, etc., but by the time I finished at the office in the afternoon it was easy to see the foolishness of that; the show costs almost ten thousand a week to run.

So, friend, this is the American theatre, before, now, and in the future. This is where you live and this is what it is - this is the nature of the beast. Here is how the work and delight and pain of many months ends up in one single night. This is murder, to be exact, the murder of loveliness, of talent, of aspiration, of sincerity, the brutal imperception and indifference to one of the few projects which promise to keep the theatre alive. And it is murder in the first degree - with forethought (perhaps not malice, perhaps!), not second or third degree. Something will have to be done about these “critics”, these lean dry men who know little or nothing about the theatre despite their praise of the actors and production. How can it happen that this small handful of men can do such murderous mischief in a few hours? How can it be that we must all depend on them for our progress and growth, they who maybe drank a cocktail too much, quarreled with a wife, had indigestion or a painful toe before they came to see the play - they who are not critics, who are insensitive, who understand only the most literal realism, they who should be dealing in children’s ABC blocks? How can the audience be reached directly, without the middleman intervention of these fools?

I think now to write very inexpensive plays in the future, few actors, one set; perhaps hire a cheap theatre and play there. Good or bad, these “critics” must never be quoted, they must not opportunistically be used. A way must be found to beat them if people like myself are to stay in the theatre with any health and love. Only bitterness results this way, with no will or impulse for fresh work. The values must be sorted out and I must see my way clearly ahead, for I mean to work in the American theatre for many years to come.

I have such a strong feeling - a lovely child was murdered yesterday. Its life will drag on for another week or ten days, but the child is already stilled. A few friends will remember, that’s all.’

Tuesday, July 12, 2016

The Arabian Diaries

Gertrude Bell, an early 20th century British traveller and archaeology enthusiast, died 90 years ago today. Her expertise in the Middle East led her to become a key player in the formation of Iraq after WWI. Diaries she kept through many of her adventures were eventually given to Newcastle University which has made them freely available online. For two years or so, starting just before the war, she reshaped her diary entries for sending to a British army officer with whom she was in love, and these have been published as The Arabian Diaries.

Gertrude Bell was born in 1869, into a wealthy north-of-England family. Her mother died when she was just three, but her father married again - Florence, a writer - when she was seven. Gertrude was educated at Queen’s College in London and then at Lady Margaret Hall, Oxford University, achieving a first in history. Thereafter, she journeyed in Europe and also spent several months in Bucharest and in Tehran, where her uncle was British representative. Her travels continued with two round-the-world trips, one in 1897-1898 and one in 1902-1903.

Bell travelled widely in the Middle East, learning Arabic, meeting many Arab tribal leaders and investigating archaeological sites. She published several travel/archaelogy books, such as Syria: The Desert and the Sown; and she also collaborated with T. E. Lawrence. British Intelligence recruited her during the WWI, and subsequently, with the dismantling of the Ottoman Empire, she was appointed Oriental Secretary to the High Commissioner in Baghdad, where she was an important influence in the creation of modern Iraq, and in the naming of Faisal, the recently deposed King of Syria, as first King of Iraq. As Honorary Director of Antiquities in Iraq, she established the Iraq Museum in Baghdad. She died on 12 July 1826 from an overdose of sleeping pills, though whether this was an accident or a deliberate act has never been established. She never married, though had a close relationship during the war with Charles Doughty-Wylie. Further information can be found at Wikipedia, American Diplomacy or The Guardian.

Most of Bell’s letters and diaries (1877-1919) were given by her half sister to Newcastle University, which hosts a dedicated Gertrude Bell website, including transcribed copies of her diaries.

Some extracts from Bell’s diaries were edited by Rosemary O’Brien and published by Syracuse University Press in 2000 as Gertrude Bell - The Arabian Diaries, 1913-1914 (see Googlebooks). However, although Bell’s diaries are published therein, O’Brien says the centrepiece of her book are, what she calls, the ‘Doughty-Wylie Diaries’. She explains: ‘It was Bell’s custom to record her journeys in small notebooks and to sift through them afterward when drafting private reports, articles, or books. On the Arabian trip, however, she kept parallel records: Two notebooks were eventually filled with daily entries, which, cited as “Diaries,” appear without revisions as appendixes to this volume. A third notebook contains a brilliant reshaping of the daily entry material, written for Charles Hotham Montague (Dick) Doughty-Wylie, a British army officer with whom Gertrude Bell was in love.’

The publisher offers this blurb: ‘The fundamental themes of her life - reckless behaviour; a divided self which combined brilliance of intellect with a passionate nature; a sense of history; and the fatal gift of falling in love with a married man - are all here in remarkable detail.’

The following extracts are taken from The Arabian Diaries: the first three come from the ‘diaries’ contained in the book’s appendices, and the fourth comes from the main part of the book, i.e. what O’Brien calls the ‘Doughty-Wylie Diaries’.

18 December 1913
‘Fine, cold, snow on the hills. We took 2 hrs 20 min. to get off. Left at 8.35 and had an hour’s bad struggle through the muddy zera’ the camels falling down at intervals. When we were S. of the Roman camp our rafiq joined us, Hamad al Lafi of the Ghiyath. The latter seem to be gom with everyone except the Sayyad and the Jumlan who are fellah tribes of Damascus. But, being with us he does not fear to meet the B. Hassan with whom he is gom. We want one of them as a rafiq. He goes with us for a mej. a day. The big chiefs of the Hasenneh are Sa’ad and Muhammad ibn Milhem who receive ma’ash from the Govt. The B. Hassan are a new group; they were once part of the Ghiyath. We got into the volcanic country at 11.30 and marched over broken ground straight onto a tell called el ‘Abd which we reached at 2.30 and found a muddy rain pool where we filled our girbehs. Grass growing between the stones and on the patches of low ground which are free of stones. A man of the Jumlan Sayyad rode out to see who we were; they are camped to the S. of us under the hog’s back which was my first bearing, 102° from ‘Adra. Got into camp at 4 in a low patch with the Saigal tells immediately in front of us. Beautiful sunset glow. We saw one of the Dumairis at his husbandry. He sowed first and ploughed afterwards. The Jumlani Sayyadi was much surprised to see me, but I offered no explanations. Excellent mushrooms-fitr. We saw a good deal of naitu today but there are no shajar tonight.’

9 January 1914
‘The temp fell to 22° in the night and our unwelcome guard had a bad time. Spent the day waiting for the Qaimmaqam of Salt. F. and Abdallah came back (the chowwish had offered to bring them back in the middle of the night) and we all spent the morning making a new tent pole for me, the soldiers aiding. Heaps of gazelle in the hills. Sat in F.’s tent and drew out a section of Kharaneh in afternoon. Cold and horribly windy. Jusef Ch. who has been away all day, came back in a good and obliging temper. It is all rather fancy I must say.’

10 January 1914
Disgusting day, cold, wind and sleet. We got out of camp and rode to the station where I waited for the baggage. Jusef Chowwish and 4 soldiers with us. A little way from the station we saw soldiers - it was the Q. who turned back to Zuwaideh [el-Juweiyida] by another road. When we reached Zuwaideh he had gone on to ‘Amman with the Yuzbashi. Hurried on and got to the hill down to ‘Amman, with little rain. I walked down, got onto Jusef’s horse and cantered up to the Serai, where I found the Q, Halim Beg Abu Sha’r, the Yuzbashi, Ishaq Effendi, and the Mudir, Muhammad Beg. All very friendly. I explained my doings, laid my complaint before them about the Yuzbashi and convinced Halim Beg that I was harmless. He telegraphed the same to Damascus. Two young men, Hanna Bsharra, and Ferid, son of Habib Effendi with whom I lodged at Salt. Hanna presently explained to me that Halim, a Xian, did not want to take any responsibility and I had better telegraph to Devey, which I did. My men pitched tents in pouring rain, below the theatre and before the Odeon.’

17 April 1914
‘It was quite cool today - comparatively; 85 was the highest temperature I registered and we profited by the weather and made a 10 hours march, without fatigue. A dull part of the desert, this is; long shallow steps leading us up into the high Hamad. I think we have left Mesopotamian heat behind and it looks as if it might rain, in which case we shall be flooded out, being in low ground for the sake of our evening lights, and under such insufficient canvas too. Khair inshallah! Today we saw fresh prints of horsemen. ‘Adwan (who is a charming man by the way) opined that they were Shammar of the Jezireh [al-Jazirah], Mesopotamia, looking for ‘Anazeh. with whom they are at feud. I feel no kind of anxiety as to ghazzus while I have ‘Adwan with me. A man from the house of the great shaikh of the Dulaim, a relative of his, and employed by the Government in collecting the cattle tax - it would be impossible to find a surer rafiq. When I part from him the fun may begin, but perhaps not - the Shamiyyeh [Shamiyah] is tolerably safe. Anyways I don’t bother at all; we have been through places so much worse and come out whole and sound. The Government has raised the sheep tax by more than a piastre - I suppose that’s the wax[?l. How much of it do they receive, I wonder? ‘Adwan says truly that the shaikhs eat more than the Government. The long fatigue of travel is upon me and I talk little while we ride. Whenever I talk ‘Adwan greets me with smiles and fair answers. I love these desert people and the sudden heart-whole part they play in your fortunes. And then you leave them and what do they think afterwards? I believe they have a pleasant memory of service rendered and of the quick intimacy of the few days’ journey. One of my rafiqs, far away on the other side of the Nefud, said once over the camp fire “In all the years when we come to this place we shall say: ‘Here we came with her, here she camped.’ It will be a thing to talk of, your ghazzu. We shall be asked for news of it and we shall speak of it and tell how you came.” I expect they will, and it makes me dreadfully anxious that they should tell nothing but good, since they will judge my whole race by me. That recollection very often checks the hasty word when I am tired, and feeling cross, or bored - heavens! how bored, cross and tired some times! Then I try to remember that they will tell how I came.’

Monday, June 27, 2016

The giddy Wanda Gág

Wanda Gág, an American artist and author best known for her Millions of Cats children’s book (apparently, the oldest US picture book still in print), died 70 years ago today. She kept an interesting and intimate diary all her life, but only a selection from her youthful diaries have ever been published.

Gág was born in 1893 in rural Minnesota, the first of her parents’ seven children. Her father, an artist, had come from Bohemia, as had her mother’s parents. She wrote, later in life, that she grew up in an atmosphere of Old World customs and legends, and that her mother and she as well as all her siblings often drew and wrote stories. After the death of her father, in 1908, the family suffered financially, and Wanda struggled - against those advising she should work - to maintain her education. However, The Minneapolis Journal published some of her illustrated stories in their Junior Journal, which helped.

After graduating in 1912, Gág taught for a few months, but then continued her studies, attending the The Minneapolis School of Art from 1914 to 1917, after which, with a scholarship, she moved to the Art Students League of New York, where she took lessons in composition, etching and advertising illustration. Around the same time, she completed a first illustrated boon on commission - A Child’s Book of Folk-Lore - and by the end of the decade was earning a living as a commercial illustrator.

The 1920s saw Gág become increasingly successful, involved in various publishing ventures and exhibitions. A one-woman show at the Weyhe Gallery in 1926 led to her being dubbed as ‘one of America’s most promising young graphic artists’. She also published essays on feminism, and illustrated covers for left-leaning magazines (such as The New Masses). To get away from commercial work, she rented a property in the country, calling it Tumble Timbers, where she could work on her fine art. She continued to support her unmarried siblings, some of whom lived with her from time to time, and even did work for her. She had various intimate relationships, though the most enduring was with her business manager, Earle Humphrey, who she married late in life.

Wooed as an illustrator by Ernestine Evans, director of Coward-McCann’s new children’s book division, Gág instead offered her own story with illustrations - Millions of Cats. It proved a winner, attracting awards, remaining in print since, and being judged one of the top 100 children’s stories. Further children’s books followed, but none so successful. She went on to translate and illustrate fairy tales by the Grimm brothers, while her art was recognised repeatedly with inclusion in major exhibitions, not least one at the Museum of Modern Art in 1939. She died of lung cancer on 27 June 1946. Further information can be found at Wikipedia, Minnesota Historical Society, Penn Libraries, or Wanda Gág House.

Gág kept a diary all her life, but while still alive chose only to edit and publish a selection from her youth: Growing Pains: diaries and drawings for the years 1908-1917 (Coward McCann, 1940). This is freely available online at Internet Archive, but has also been reprinted by Minnesota Historical Society Press. ‘Thirty-one notebooks originally compiled this diary,’ she wrote in her introduction ‘they are full of diagrams, self-portraits and other sketches, with many crossed-out words, ink spots - even tear blots. Several of the books are wrinkled and blurred from being stored in a damp cellar, and a few are lost.’ These notebooks, she explained, were carelessly stored in Minnesota for many years, but were eventually sent on to her in New York. ‘I had often wondered how I would feel upon re-reading them and had even speculated about it in my diary at times.’

In concluding her short introduction, Gág wrote about how she came to keep a diary in the first place: ‘At about this time I came across an old half-empty ledger of my father’s. In our household anything which could be drawn or written upon was in great demand; a notebook of any kind was a positive treasure. I pounced on the old ledger and, prompted perhaps by the fragmentary business accounts in my father’s handwriting, I began recording my earnings and expenditures, what drawings I had sent where and when, and other notes pertaining to my new business ventures. I was never able to limit myself to plain figures and facts in keeping accounts; and so reports on the weather, new additions to the baby’s vocabulary, family incidents, even youthful thoughts and yearnings, found their way into my “ledger.” And that, to the best of my memory, is how I came to start this diary.’

The following extracts are taken from Growing Pains. However, the Penn Libraries archive of Gág’s papers holds nine boxes with 59 diaries, dating from 1908 to 1945, as well as a dozen other notebooks - all itemised on the website. As far as I can tell, the only extracts from the later diaries have been published in Wanda Gág: A Catalogue Raisonné of the Prints by Audur H. Winnan (University of Minnesota Press, 1993). The publisher says this of the book: ‘Using excerpts form Gag's expressive diaries and letters, Winnan fleshes out a portrait of the artist. With extraordinary candor, Gag describes her intimate personal thoughts and experiences, and her friendships and encounters [. . .] Throughout her writings, Gag reflects on her career, the restrictions placed on women, and her sexual desires. This portrayal reveals both the internationally recognized artist who drew inspiration from van Gogh and Cezanne, and the vibrant, erotic woman who admitted to being amazed by her own passions.’

19 November 1913
‘Today I was out in the hall waiting for Sketch Class and two second-year students, Dave Hendrickson and Bob Brown, came along and stopped to look at my sketches. Bob Brown declared that my technique was very good (technique is Greek to me) and he said that I did not work in lines and that was a good thing. They think it’s so funny that I sit up nights and draw, and they think it’s funny too that I sketch myself. I thought all people who aspired to be artists drew as much as I do but it seems they don’t. I thought too that all, or at least a good many, of the art school students would be queer, but they aren’t; and it sometimes makes me wish that I weren’t so different. For I am - there is absolutely no getting around it. And a whole lot of my new acquaintances are in that stage now where they misunderstand me. I will stick to my old theory which is this: That I usually make a fairly good impression (I don’t mean to compliment myself by saying this, but it’s true and it only serves to make it so much harder afterwards) but that after they know me for a while they are disappointed in me. Then, if they have the faith to stick by me thru this second stage, they will find my true nature - at least as much of it as I ever show. Roughly speaking, at first they think I’m jolly, then they think I’m frivolous, and finally they find out that, after all, I am more serious than anything else. Paula has been the only one that I know of who has not come to the second stage after a year of my acquaintance. She stood by me for four years but even she is beginning to doubt me. Larry Morse said that I was “giddy” and altho Paula does not agree there, the remark has served to make her think-to think that perhaps he was not so far wrong. I am frivolous sometimes - giddy too, and silly - I can’t deny it. But often I act that way only to hide my real feelings. Besides (and I told this to Paula) if I were not frivolous once in a while, I am afraid I’d go mad or something like that, because I’d think too much. No one can know what it is to be I.’

20 January 1914
‘This noon at dinner we were discussing Love, Art & Marriage again. Miss Dean declared that she didn’t think there was any real love in the world. She believed in mother love, sister love, brother love and the rest, but not in The Love. I told her I had had that bee in my bonnet once too. She said, “Oh I know why you got over it,” and when I wanted to know why, she said, “Since you met Mr. Edgerley.” I told her I did not love Mr, Edgerley nor any other boy.

I reeled off the old story about taking Love & Art together etc. She thought I ought to sacrifice my art for my love. Theresa declared that I couldn’t take care of my children if I wouldn’t give up art, and I said if I would get married I’d drape my babies up in chiffon and sketch them, and that my husband would have to pose as king or beggar (according to what my latest fit would be like). To this Miss Dean said, “I pity your poor family!” and we ended up with a good all-around laugh.’

20 January 1915
‘Yesterday was an event in my life - I started painting in oils. I am rather timid about handling my brush for I am not at all used to the medium, so my study is abominally smooth and insipid. It looks something like the work of that eternal aunt or sister or cousin of everyone you meet “who does beautiful oil studies and has never taken a lesson in all her life.” But ding, I have a long road to travel in oil painting. It seems that Emma Brock (a former student who did some good illustrations last year) has returned. They say she doesn’t care about eating either.

I am beginning to like Mr. Goetsch and I think in a short time I shall like him very much indeed. Only some fine day we will have a good hot little discussion, I think. You see he thinks himself smart about some things, and I think myself smart about some things, and some day we’ll both think ourselves smart about the same thing. I don’t know how he found out I was an artist’s daughter, but yesterday during sketch class he looked at my crumpled wrapping paper and absolutely impractical method of holding the whole drawing outfit, and said, “Tz! Tz! Tz! And you an artist’s daughter?” I said, “Well, that just proves that I am an artist’s daughter. Artists aren’t practical.” And he laughed and went on.

I made a sketch last night which I consider rather decent but to which no one, up to this time, has taken a fancy to. I like it because it is bold and simple, and I think that I have successfully hidden the fact that it was studied out very carefully in the first place. I mean it looks as if it had been dashed in, only it hasn’t. [. . .] I am taking Color Harmony now and have stacks of make-up work to do.’