Showing posts with label entertainment. Show all posts
Showing posts with label entertainment. Show all posts

Saturday, November 18, 2023

What poems people are

‘I felt more powerfully than ever today what poems people are; not the part of them that speaks, but the mysterious, intricate network of thoughts and feelings which remain unexpressed.’ This is from an early diary of Ruth Crawford Seeger, American composer and folk music specialist, who died 70 years ago today. Her diaries, though not published, have underpinned at least two biographies.

Crawford was born in East Liverpool, Ohio, the second child of a Methodist minister. The family moved several times during her childhood, settling in 1912, in Jacksonville, Florida. Her father died of TB, and her mother then opened a boarding house to help make ends meet. Having shown promise in poetry and music from an early age, she started, in 1913, taking piano lessons with Bertha Foster (founder of the local School of Musical Art). Further studies followed with Madame Valborg Collett. After leaving high school in 1918, she began to pursue a career as a concert pianist, sometimes performing at musical events. She also began teaching at Foster’s school and began composing for her pupils. In 1921, she moved to Chicago, and enrolled at the American Conservatory of Music.

In Chicago, Crawford studied piano with Heniot Levy and composition/theory with Adolf Weidig; she also wrote several early works. After receiving her degree in 1924, she enrolled in the master’s degree programme. That year, she took up private piano lessons with Djane Lavoie-Herz, a teacher who introduced her to the ideas of theosophy, the music of Alexander Scriabin, and to a wider world of artists and thinkers. She moved to New York where she studied composition, and where she worked as a piano teacher for the children of poet Carl Sandburg. Through Sandburg, she became interested in American folksongs, contributing arrangements to his 1927 book The American Songbag. In 1929 she began study with Charles Seeger. The two married in 1932 with Ruth assuming responsibility for Charles’ children by a previous marriage, including Pete, soon to become America’s best known folksinger (see They mix it up almost as I do). With Charles, she had two children, Peggy and Mike, both of whom also became renowned folksingers and teachers.

In 1936, the Seegers moved to Washington, D.C. to collect folk songs for the Library of Congress. Ruth acted as transcriber for the book Our Singing Country and, with Charles Seeger, Folk Song USA, both authored by John and Alan Lomax. Subsequently, she published her own pioneering collection, American Folk Songs for Children, in 1948. This and other Crawford Seeger books of the kind came to be regarded as key texts in primary music education. Having composed little since 1934, she returned to serious composition with the Suite for Wind Quintet in 1952. By the time it was complete, she learned she had cancer. She died on 18 November 1953 aged only 52. Further information is available from Wikipedia, Peggy Seeger’s website, The New York Times, Encyclopaedia Britannica, or the Los Angeles Public Library.

Seeger kept a diary from the age of 13 though only portions are extant. Those from her late teens cover daily activities, some philosophical musings and self-analysis. Later entries (1927-1929) ruminate on her first serious love affair, her decision nonetheless to pursue a career in New York, and the beginning of her long friendship with Marion Bauer. Her diaries have not been published as far as I can tell, but at least two biographies mention them often. Ruth Crawford Seeger: memoirs, memories, music by Matilda Gaume (Scarecrow Press, 1986) is freely available at Internet Archive (log-in required). This provides a number of direct quotes from the diaries, and, where not clear in the narrative, their dates are given in the extensive notes at the back of the book. Here are several examples.

6 January 1918
‘What is the soul? When it leaves the body we do not see it. And where is God? Everywhere? But what is he? Why can’t I know all these things? Because thou shouldst then know as much as God. Yes, true. But how -how I want to know it all.’ 

28 October 1927
‘I felt more powerfully than ever today what poems people are; not the part of them that speaks, but the mysterious, intricate network of thoughts and feelings which remain unexpressed.’

16 August 1929
‘Marion Bauer - she has freed me - I am writing again. She asks me to lunch on Tuesday; after lunch she plays some of her preludes . . . One thing I learned from this beautiful afternoon with Marion Bauer was that I had been forgetting that craftsmanship was also art. I have not been composing and have felt tense, partly because I relied on inspiration only. I was not willing to work things out; I felt that inspiration, emotion within, but when it started to come out, my attitude was so negative that the poor thought crept back into darkness from fear. Discipline. We talked on discipline a few nights ago - necessary - ear-training - hearing away from the piano. Lie on your couch and hear and study Bach chorales. Make yourself hear; also improvise, not wildly, but making your self hear the next chord. Courage, Marion Bauer tells me - work. You have a great talent. You must go ahead. I do not mean that you must not marry, but you must not drop your work.’

17 February 1930
‘Only God and my creditors know how poor I am. I wish my creditors were like God. He takes his pay too, but he does it gradually, and you don't realize it until the peanut bag is empty. Then he blows into it and claps it between his two hands, and throws away a bag that isn’t any good any more because it has a hole in it. All the time he is putting peanuts into new bags, and taking them out of old bags, and there is a regular stock exchange of peanuts. But he isn’t the kind of creditor who sends you a bill.’

More recently, Judith Tick in her biography, Ruth Crawford Seeger: A Composer’s Search for American Music, (Oxford University Press, 1997), also available to borrow at Internet Archive, does not include so many complete quotes, but she does weave short excerpts into her narrative, for example, as follows:

Page 22
‘Ruth Crawford found her way to composition through the routine of playing through music for her small pupils. A few notations in her diary outline the steps. On December 18, 1918, Ruth “looked over more music [for teaching] and improvised some.” January 3, 1919: “Have made up another piano piece - the 2nd one,” she wrote, adding, “Love to do it!” She showed her compositions to a Mr. Pierce, who perceived talent and decided to teach her some theory. He gave her what she later belittled as “four dry lessons from Chadwicks harmony book”; but on January 17, she wrote in her diary that she was “crazy about harmony.” Two piano pieces, Whirligig and The Elf Dance, date from this period. The Elf Dance was pronounced “real cunning” by Mrs. Doe, a teacher at the School of Musical Art, and a “cute thing” by Madame Collett.’

Page 57
‘Sandburg, moreover, stood on the shoulders of writers whom she perhaps loved even more: Emerson, Thoreau, and Whitman. Crawford opened her 1927 diary with a quotation from Walden Pond, underlining Thoreau’s admonition to “probe the universe in a myriad points.” She alluded to Whitman frequently. One diary entry recounts a telling incident at Djane Herz’s studio: “I pick up Leaves of Grass and find a good many of the first verses of Song of Myself underlined. I feel at home.” Whitman’s cosmic metaphysics inspired her. “His constant reiteration of the oneness of himself with all other creatures - a sense of bigness” was an article of faith in her aesthetic theology.’

Page 60
Despite her success, 1926 was a difficult year. One diary entry refers to 1926 as a “nightmare,” with a darker reference to one “bitter, irritable day” in which “more sensitive morbid people become suicides. My wretchedness comes from the returning to my eyes of last year’s pulling, wracking strain, which makes practice and composing hard.” Little else is known about this crisis of nerves and health, or about an operation that Ruth had in the fall of 1925 to alleviate these symptoms. They abated but did not disappear entirely, and could trigger what Crawford described as spells of “depression.” ’

Page 90
‘Clara Crawford slipped into a coma a few days before her death on August 14. In the last diary entry Ruth’s own sense of loss finally tempered her journalistic fever, as she began to grieve. “I find myself often thinking of something I want to tell or ask Mother. Can it be that I shall never be able to talk to her again? It seems incredible. How little I realized how close she was to me, and what a child I still was, and how very much her interest and love and thoughts for my music were woven into my life! I feel stifled to think she will never again be there to hear and sympathize; I look forward through the years, and feel tragically alone. I begin to wonder how I can live. And to think that I had been feeling during the past year or two a desire to live alone, never dreaming how painfully soon Fate would answer my misplaced and erroneous desire. . .  How pitifully small was my realization of my love and need for Mother. . . I sit here by her bedside and though she breathes and I feel comfort just in holding her hand on my knee, yet my heart aches and I feel like one in prison, for I can tell her nothing, and if I could, she could not answer.” ’

Tuesday, October 31, 2023

Fellini’s dreaming

The great Italian film director, Federico Fellini, died 30 years ago today. He won four Oscars for best foreign language film, more than any other director, and is considered to be one of the most important and influential European directors of the 20th century. Although not a diarist, he did, for many years, keep a record of his dreams, with descriptions and richly-coloured illustrations. These were given a lavish publication a few years after his death. 

Fellini was born in 1920 to middle-class parents in Rimini, on the Adriatic Sea. He was educated locally in Catholic schools, though ran away once to join a circus. He and his younger brother, as teenagers, joined the Avanguardista, the compulsory Fascist youth group for males. Lacking any interest in his education, Fellini began drawing comic portraits, and writing humorous articles. He enrolled in law school at the University of Rome in 1939, but barely attended, and continued trying to earn money by selling portraits.

Fellini worked for a short while as a local news reporter, but gravitated quickly to Marc’Aurelio, the highly influential biweekly humour magazine, for which he wrote a regular column for several years, and through which he met many other writers and artists. He composed monologues for the comedian Aldo Fabrizi and collaborated with variety radio shows, on one of which he met a young actress, Giulietta Masina, who he married in 1943. Their only child died soon after birth.

Through the 1940s, Fellini developed a name for himself, as a scriptwriter on some of Fabrizi’s films, with Roberto Rossellini on films such as Roma città aperta and Paisà, and in partnership with the playwright Tullio Pinelli. One of the directors he and Pinelli worked for, Alberto Lattuada, wanted Fellini to co-direct a film, Luci del varietà - it was self-produced and left them both in debt.

Fellini’s first sole directorial debut, Lo sceicco bianco, was also a failure. Thereafter, though, his films earned huge international praise. He won four Oscars for Best Foreign Language Film (La Strada in 1954, Le notti di Cabiria in 1957, 8 1/2 in 1963, and Amarcord in 1974), and was much honoured for others, such as La dolce vita and Satyricon. In 1993, just months before his death on 31 October, he was awarded a Lifetime Achievement Oscar. Further biographical information is available from Wikipedia, the Fondazione Federico Fellini, The New Yorker, Encyclopaedia Britannica, or IMDB.

Although not a conventional diarist, Fellini did, at the suggestion of the Jungian analyst Ernst Bernhard, keep a diary record of his dreams, and these records, along with his illustrations of them, were first published in 2007 by Rizzoli International Publications as Il libro dei sogni di Federico Fellini, and then in English as The Book of Dreams.

The publisher says: ‘A unique combination of memory, fantasy, and desire, this illustrated volume is a personal diary of Fellini’s private visions and nighttime fantasies. Fellini [. . .] kept notebooks filled with unique sketches and notes from his dreams from the 1960s onward. This collection delves into his cinematic genius as it is captured in widely detailed caricatures and personal writings. This dream diary exhibits Fellini’s deeply personal taste for the bizarre and the irrational. His sketches focus on the profound struggle of the soul and are tinged with humor, empathy, and insight. Fellini’s Book of Dreams is an intriguing source of never-before-published writings and drawings, which reveal the master filmmaker’s personal vision and his infinite imagination.’

A review can be read at Frieze, and there are a few extracts from the contents available at Penguin Random House which brought out a new edition in 2020. 

23 June 1974
‘It’s nighttime. What an awful night. I am driving a black car that’s racing dizzyingly down a path that spirals down around a mountain. I can’t seem to stop despite the fact that I’m pushing the brake pedal. On my right there’s a precipice. Other cars are coming up, flashing their lights with fear.’

27 June 1974
‘A wooden root falls from the sky. “It’s the wooden harp!” someone tells me with a tone of devotion and exultation as if a miracle had taken place. “Play it!” Dressed like a monk/mendicant, I (but was it me?) draw incredibly sweet sounds from the rough piece of wood. They make people cry. Even I am moved to tears. This last part of the dream was followed by me commenting on the dream itself, as if it were a film created for television by a young director. My comments were very positive.’

14 September 1974
‘I am on the dock in Rimini on an extremely stormy night, a violent gusty wind is blowing in off the sea toward the land, raising the waves. I’m drawing. Behind me, Peppino Rotunno is sitting in an attitude of indifferent and peaceful detachment. Norman lifts my drawing, which shows a black ship daring set sail up into the water-filled air on a night similar to the one we’re experiencing. Then he puts the drawing into a hiding place.’

15 September 1974
‘Where am I going? Confused, I know that I have to leave. Are we looking for track 26 for Paris? I follow my porter, who has my bags on a car, in a disordered procession of baggage carriers. Now we’ve gotten down and lost among the others, it seems that we have to struggle to get back on.’

20 September 1974
‘In Piazza Barberini in the middle of the day, in the midst of all the traffic, I’m completely naked in bed with Sandrocchia, who is also nude. Maybe we’re making love, but nobody pays any attention, nobody notices us, as if doing so were the most normal thing in the world. Later Sandrocchia (in P.P. she vaguely resembles A, as well) says to me “When I think about you I cry right away. I always cry when I think of you.” This was her way of telling me that she loves me very much.’

This article is a slightly revised version of one first published on 31 October 2013.

Monday, October 23, 2023

Self-exposing massacre

‘For a fortnight JH and I have been trimming the fat from this volume, fat being the truth that endangers. The book still seems bloated, for I’m as fond of my fat as an analysand is of his fears: with each slice I scream. Yet here’s a hundred deleted wounds to others and to myself, lascivious narratives, family daguerreotypes, puerile anecdotes and dirty linen.’ This is the penultimate entry in Ned Rorem’s third volume of published diaries. Although a Pulitzer-prize winning American composer particularly feted for his art songs, Rorem is more widely known, perhaps, for his uncompromising and witty diaries. He died last November, and today he would have been 100!

Rorem was born on 23 October 1923 in Richmond, Indiana, but moved to Chicago when still a child. He studied music at Northwestern University, Curtis Institute, Juilliard School and Berkshire Music Center. In 1948 his song, The Lordly Hudson, was voted the best published song of that year by the Music Library Association. The following year, he moved to France, and lived and worked there until the late 1950s, including a two year sojourn in Morocco. Back in the US, from 1957, he was much in demand for various music commissions.

Rorem has composed three symphonies, four piano concertos, hundreds of songs, and many other types of music. He was awarded a Pulitzer Prize in 1976 for Air Music. According to Boosey & Hawkes, his music publisher, ‘Rorem is justly renowned for his art songs; his catalog includes more than 500 works in the medium. Evidence of Things Not Seen, his evening-length song cycle for four singers and piano, represents his magnum opus in the genre.’ Rorem's most recent opera, Our Town, completed with librettist J. D. McClatchy, is a setting of the acclaimed Thornton Wilder play of the same name, and was premiered in 2006. Rorem has an impoverished biography, which is little more than a long list of his compositions. More biographical information is available from Wikipedia, and at Boosey & Hawkes and Rorem’s own website.

Alongside his composing, Rorem has written extensively about music and about his own life, in autobiographies and diaries. Although he has been quoted as saying he is a composer who also writes, not a writer who composes, it can be argued that his diaries - in which he is frank about his own (homo)sexuality and his relationships with, among others, Leonard Bernstein, Noël Coward, Samuel Barber - have earned him more celebrity status than his music. There is an excellent article, available online in the spring 1999 edition of The Paris Review, by McClatchy in which he interviews Rorem about his diaries.

Here is Rorem responding to McClatchy’s question about when he first kept a diary: ‘I did keep a diary in 1936, age twelve, for three months when our family went to Europe. Except for frequent references to Debussy and Griffes, it focuses breathlessly on American movies seen in Oslo or tourists we met on boats. No shred of lust, much less of intellect or guile. Admittedly, words are never put on paper, be it War and Peace or a laundry list, without thought of other eyes reading them, even though those eyes might just be one’s own at another time. But I didn’t think of myself as an author. Ten years later I began a literary diary and kept it up until I went to France in 1949. It’s filled with drunkenness, sex, and the talk of my betters, all to the tune of André Gide.’

The first of Rorem’s diaries was published in 1966 - The Paris Diary - covering his years abroad from 1951 to 1955. ‘Its pithy, elegant entries’ McClatchy says, ‘were filled with tricks turned and names dropped (Cocteau, Poulenc, Balthus, Dali, Paul Bowles, John Cage, Man Ray, and James Baldwin, along with the rich and titled, the louche and witty).’

The following year, Rorem published The New York Diary, which took the story up to 1961 and ‘deepened his self-portrait as an untortured artist and dashing narcissist’. There have been several more volumes - The Final Diary in 1974, The Nantucket Diary in 1987, and Lies in 2002, for example - up to the most recent, published in 2006, Facing the Night in which he finds himself alone after the death of Jim Holmes, his companion of 32 years. Many or all of these books can be sampled or previewed at Googlebooks and Amazon.

Here, though, are some extracts from The Final Diary 1961-1972 published by Holt, Rinehart and Winston in 1974.

16 April 1961
‘Sitting in one denuded room whose center contains a mountain of packing cases to be removed tomorrow by Robert Phelps. Without paying last month’s rent I fly Friday for London, meanwhile have already left, can only sit, wondering, for five days more.

Wondering about those three things (and there are only three) we all desire: success in love, success in society, success in work. Any two of these may be achieved and possessed simultaneously, but not all three - there isn’t time. If you think you have the three, beware! You’re teetering on the abyss. You can’t have a lover and friends and career. And even just career and love are, in the long run, mutually exclusive.’

9 June 1961
‘Three days ago at dawn I smashed my right thumb flat as a bedbug in Virgil’s bathroom door, was sped to a fourth-rate doctor in Les Halles who administered five stitches as I (blushing delirium) whispered “tu me plais”, and he replied with an antitetanus shot which, for the next twelve hours, left me hanging by a thread. (Like other chosen fools, my allergy to anything concerning horses is prodigious: to ride a horse, to smell horsemeat cooking, even to read about Swift’s Houyhnhnms, I swell like a bomb.) A week in bed, shivering, finger paralyzed. Then with a few sips of Chablis and a taste of saucisson (which, they say, is ground donkey fat) the tetanus symptoms recur worse than before. Bulges everywhere. The antiserum contagion twists even the forehead into knots of wet iron. Return to bed, every joint aching for days, pills, pills, body a gray grub, spirit a clod, thumb sticking out like a sore thumb as I ruminate on how I bring on these dramas because “life isn’t enough.” ’

7 August 1961
‘So here I am in Africa again, after ten years. And like two Augusts ago on finally returning to Chicago (where I found the initials NR childishly imbedded in the hard cement of adulthood before our former house) I am disturbed. For the past thirteen weeks I’ve sought love on three continents, and found love elusive, because you can’t go back, although nothing has changed but you, etc.

Nothing affects me. Yesterday, Guy’s friend, young Docteur Michel Blanquit, for my general education took me to the Salé morgue and there displayed the svelte naked body of a dead Berber girl who had hanged herself in the woods. Nothing. Yet this was only my second corpse, the first being that “man who jumped off the Seranac” whom all we fourth-graders ran to see and were traumatized for weeks.

Yesterday in Fez I sniffed once more the cedar, mint and heavy olives, hear and taste the terrible exoticism, feel nostalgia less strong than it should be, because I’m not involved (or don’t let myself be), and grow jealous and lonely.

Who knows if America might not after all be the country where my realest problems, for better or worse, will eventually be solved? You can go home again.’

29 September 1961
‘If I weren’t a musician I’d have more time for music. Far more informed than I is the Music Lover, the amateur; nor is his information necessarily more superficial. At a time when it counted - before the age of twenty - I did learn the piano catalogue of Chopin, Beethoven, Brahms, Mozart, Debussy, Ravel, and a bit less of Liszt and Schumann. But most of these weren’t mastered. To hear them no longer tempts me. Seldom at a concert don’t I feel I should be home writing my own music.’

7 February 1962
‘For seventeen years I’ve been intermittently keeping these diaries. What will I ultimately do with them. The earliest ones are doubtless more - well - engrossing for their reportage, but the rest are mere self-exposing massacre when au fond I am (as Maggy says) a hardworking mensch. (Hardworking? At least this journal is not concerned with my work. And today I say that work means balance without pleasure; my collaboration with Kessler and our opera for next season I anticipate with only boredom - yet what masterpieces have not sprung from even less!). The other night at one of the biweekly domestic evenings chez moi I read the “Cocteau Visit” extract to Morris and Virgil, and everyone was impressed and said: print it! But where? Oh, the energy I had for the observative journalizing in those early fifties!. But as I wrote then, we spend most of our lives repeating ourselves so now I save time by notating telegram-style. Well, if tomorrow I died, I suppose there’d remain a sizable and varied catalogue. (Am I advancing? Yes, but the scenery’s stationary.) And die perhaps I will, though, astrologically it should have happened to our whole world three days ago, February 4.’

23 December 1972 [Last but one entry]
The Final Diary is merely a title, like Journal of the Plague Year or The Great American Novel. Which does not mean it’s fiction. (Fiction freezes my pen. The discipline of invention - that which is not fact, as I comprehend fact - eludes me.) For a fortnight JH [Jim Holmes] and I have been trimming the fat from this volume, fat being the truth that endangers. The book still seems bloated, for I’m as fond of my fat as an analysand is of his fears: with each slice I scream. Yet here’s a hundred deleted wounds to others and to myself, lascivious narratives, family daguerreotypes, puerile anecdotes and dirty linen. Precisely because they are “interesting” they will remain posthumous. Well, one must, at least in appearance, grow up sometime. For only children are punished. Thus only children are frightened. Alas, only children are worthwhile.’

This article is a slightly revised version of one first published on 23 October 2013.

Sunday, October 15, 2023

We came home we had Words

‘I walkd by my self after tea finished the French Novel _ then Mr Inchbald and I walkd, he was dull and after we came home we had Words.’ These are the words of Elizabeth Inchbald, an 18th century actress and writer, born 270 years ago today. She kept diaries all her life, but only a dozen or so have survived -  these have recently been edited and published in three volumes for the first time.

Elizabeth Simpson was born on 15 October 1753 at Stanningfield, near Bury St Edmunds, Suffolk, the eighth of nine children born to a Catholic farming family. She was educated at home, and despite a speech impediment and her parents’ advice, she wanted to become an actress. Aged 18, she left home for London. Within two months she had married a fellow actor, Joseph Inchbald, twice her age and father to two illegitimate sons. In September 1772, they appeared on stage together for the first time in King Lear, and soon after undertook a four year tour in Scotland with West Digges’s theatre company. After a brief and unsuccessful sojourn in France, they moved to Liverpool where she joined the Joseph Younger company and befriended Sarah Siddons and her brother John Philip Kemble, both of whom would become famous actors.

The Inchbalds moved again, to Canterbury and Yorkshire, and in 1777 were hired by Tate Wilkinson’s company. Just two years later, Joseph died suddenly. Inchbald, by this time was already beginning to write. She stayed on with Wilkinson until, in 1780, she joined the Covent Garden company. She made her debut on the London stage as Bellario in Philaster, a male role. A young widow, still only 27, she attracted attention from suitors but, instead of re-marrying, she sought to educate herself through reading novels, literary letters and essays, poetry and philosophy. 

By the mid-1780s, Inchbald was writing successful farces: A Mogul Tale and I'll Tell You What both at the Haymarket, and Appearance is Against Them and Such Things Are at Covent Garden. By the late 1780s, she was earning a good living from writing, and was thus able to give up acting. She continued to write new plays, amend her earlier works, and adapt translated plays. However, it is for two novels that she is best remembered - A Simple Story (1791) and Nature and Art (1796) - both of which have been reprinted frequently and garnered interest among modern scholars of 18th century women’s writing.

In 1806, the publishers Longman asked Inchbald to write the critical and biographical introductions to a series of 125 plays from the sixteenth to late eighteenth centuries, an unusual request to a woman. By this time she was in semi-retirement and financially comfortable, gaining much comfort from her faith. In her last years, she wrote several volumes of memoirs though, on the advice of her confessor, she destroyed them before her death. In 1819, she moved into a Catholic residence where she died in August 1821. Further information is available online at Wikipedia and the Chawton House website.

Inchbald appears to have kept annual diaries from the age of 16 for most of her life, although only 11 exist today. These are held by the Folger Shakespeare Library (which acquired them over the years in four separate transactions). Brief excerpts of the diaries appeared in Memoirs of Mrs. Inchbald (1833) by James Boaden (who had access to at least some of the now-missing diaries) and in a recent biography by Annibel Jenkins, I’ll Tell You What: The Life of Elizabeth Inchbald (2003). The Folger Library, itself, has included a few sample transcriptions from the diaries in exhibitions over the last 20 years. Also, at some point, Adam Matthew Publications made available some of the contents of Inchbald’s literary remains in digital form - though, this material does not seem to be available any longer. 

Most recently, however, in 2019, The Diaries of Elizabeth Inchbald were edited by Ben P. Robertson and published by Pickering & Chatto in three volumes, as follows: Volume 1: The Early Years on the Stage, 1776-1781 - Scotland, France, Ireland, the Provinces, and London; Volume 2: The Height of Fame, 1782-1793 - Acting, Playwriting, and Novel Writing; Volume 3: The Introspective Years, 1807-1820 - Drama Criticism, Napoleonic Wars, and the Queen's Trial.

A good deal of the first volume can be sampled online at Googlebooks, the source of the following extracts (as found).

8 January 1776
‘a very Cold snowy Day _ I was at the Reading of Philastcr _ while my Hair was dressing Mr Inchbald heard me my part _ I playd [Rossaland] Mr Inchbald Clown in As you like it _ then he in the Pantomine _ {Corcreen Faris} Benifit _ I went to Bed Crying &c& for Playing very ill.’

31 January 1776
‘Mr Inchbald went to the Flag _ then I called at my Sisters and my Bro: walked with me to Mr Inchbald then he and I called at the [Fary’s] _ George Inchbald drank tea here _ then Mr Inchbald went to the Flag and I saw a piece of the B Opera in Mr Diggcs Box _ my Bro:received a Letter from my Mother much about me _ my French Master called then I saw some of the Deserter Mrs [Baris] first appearance.’

17 February 1776
‘A very fine Day _ we were at Rehearsal some Gentlemen there _ between my scenes I called at Miss Blackadders_ Then walked with Mr Inchbald and was at the French _ after dinner Dr Macclogan called _ I played Lady Anne Mr Inchbald Henry in Richard  _ farce Sham Doctor.’

7 May 1776
‘Mr Inchbald began Garricks Picture and was at it all Day _ in the Morning Bob and Mr Johns called and I walkd by my self after tea finished the French Novel _ then Mr Inchbald and I walkd, he was dull and after we came home we had Words.’

14 July 1776
‘Rose at six to see Yarmouth then went to Bed again _ at nine oclock (the Wind against us) we anchored seven Miles from Yarmouth _ Mr Inchbald went a on shore with the Captain and brought fruit c& I cryd &c& while he was a  shore _ after tea we all went on shore and was at a Little Cottage I was very dull there and more so after in the ship c&c. we had no supper _ talked of Ghosts c&c _ a very hot night.’

21 July 1776
‘did not go to Bed till Day Light for the Violent tossing of the ship _ the Dark Lights were put in _ I was very sick _ after sleeping found the sea smooth but a bad Wind _ eat nothing and did not rise till after dinner _ then was a little on Deck _ after tea I was purely and the Wind was better and I was on Deck again _ we sat up with the Captain till after his Watch was called.’

15 September 1776
‘a Wet Day _ the Young Man at the Doctors called and he and the Landlady went to Church with me _ her Sister dind with us _ in the afternoon I finished Horace and Read L epreuve reciproque _ Mr Inchbald was at a Minature and walked to Sea for the Packet Boat _ saw very grand Processions _ in the Evening went out Old Walk when we came back the Landlady was crying _ we sat with them _ at supper a Gentleman called _’

Tuesday, July 25, 2023

A nice little slot

‘I think some critics are uncomfortable with me because they have never been able to put me into a nice little slot. They haven’t been able to place me. But I’ve long since ceased to lose sleep over that. They’ve got their jobs to do, and I’ve got mine.’ This is from the diaries of the great British film director John Schlesinger who died 20 years ago today. The diaries - taped and written - have never been published but Schlesinger’s biographer, William J. Mann, refers to them repeatedly in his biography Edge of Midnight.

Schlesinger was born in 1926, in Hampstead, London, to wealthy Jewish parents - his father was a distinguished physician. He was educated at St Edmund’s School (Hindhead) and Uppingham School before enlisting in the British Army serving, during WW2, with the Royal Engineers. He became involved in making films on the front line, and he also entertained fellow troops with magic tricks. Subsequently, while at Balliol College, Oxford, he continued to make films and perform, not least with the Oxford University Dramatic Society.

In the early 1950s, Schlesinger appeared in various supporting roles for British films and television productions, but his directorial debut came in 1956 with a short documentary Sunday in the Park about London’s Hyde Park. Another followed, in 1958, about Benjamin Britten and the Aldeburgh Festival. He provided assistant directorial services on dozens of episodes for the TV series The Four Just Men, as well as a few for Danger Man. The early 1960s saw his career take off with several releases - Terminus, A Kind of Loving, Billy Liar, Darling and Far from the Madding Crowd - winning awards. In 1969, his film Midnight Cowboy won Oscars for Best Director and Best Picture. Through the 1970s and 1980s, he continued making successful films (and some not so successful), in Hollywood and Britain, as well as directing drama for television, and also sometimes in the London theatres.

Schlesinger’s final films were the intense drama Eye for an Eye (1996), about a revenge-driven mother, and The Next Best Thing (2000) starring Madonna and Rupert Everett. Schlesinger had come out as gay during the making of Midnight Cowboy, and he had a long term relationship with Michael Childers. He was appointed Commander of the Order of the British Empire (CBE) in the 1970 Birthday Honours for services to film. He died on 25 July 2003. Encyclopaedia Britannica has this brief assessment: ‘Although the films of his later career were less uniformly brilliant than those early films with which he made his reputation, Schlesinger left an enviable body of work.’ Further information is also available from Wikipedia and IMDB.

Schlesinger left behind a large volume of diary material, much of it tape-recorded rather than written. William J. Mann uses this material extensively in his biography - Edge of Midnight: The Life of John Schlesinger (Hutchinson, 2004). ‘I sorted through the tapes,’ he says in the biography, ‘they were intended for his own use, for writing his own memoir; he hadn’t expected anyone other than himself to hear them. Not for every film did John keep a detailed diary. There were gaps, but also some wonderful surprises: a rambling, intimate account of a holiday in South Africa with Michael; an on-the-set recording of rehearsals for The Believers; a tape left running after a radio interview had “officially” concluded. Not all of his diaries were tape-recorded: of his earlier work, he left mostly written records, often squeezed into the columns in his daily planners, a practice repeated again on his last film. Helpful and insightful as such written records were, however, they could not compare to the power of hearing his voice.’

Mann uses the written and taped diaries many times in the biography, but mostly by weaving very extracts phrases into his narrative rather than by providing whole and dated extracts. Nevertheless, here are few passages from Mann’s book (which can be digitally borrowed from Internet Archive) which include such excerpts from Schelsinger’s diaries.

***

‘He would learn, despite his kneejerk pessimism, to distance himself from criticism and rejection, for they would become the ever-present background chorus to his career. “I’ve often been dismissed,” he told his diary. “I think some critics are uncomfortable with me because they have never been able to put me into a nice little slot. They haven’t been able to place me. But I’ve long since ceased to lose sleep over that. They’ve got their jobs to do, and I’ve got mine.” ’ 

***

‘Gloria Swanson visited the set, courtesy of the Paramount publicity machine. “I think she didn’t really know what it was all about, what was going on around her, but she was very charming,” John recorded in his diary. “I never realized how small she was, nor that the beauty mark that has been so much her trademark was in fact a rather ugly, raised black mole, quite hideous on close inspection. I’m amazed a film star of such magnitude would have clung to it for so long, that it never registered what it really was.” ’

***

‘Camaraderie, in fact, extended from the grips and the technicians right up to the top. John liked his second American crew much better than his first: “This is not at all the Hollywood experience that I had somehow expected,” he recorded in his diary. I had expected bullshit. I had expected union problems. I had expected a kind of blaséness and I’ve found none of that. I suppose it’s the executives and the agents that sometimes turn me off the place, but I must say, working with these people has been an eye-opener.” ’

***

‘Watching Alan Bridges’ film The Hireling, with a script by Wolf Mankowitz, he also felt “homesick.” Musing to his diary, John wrote: “I felt once again a sense of terrible loss about the British cinema because when we do it well, we do it well. Much better, I think, than the average film made here.” ’ 

***

‘ “I have a very strong feeling that whatever the outcome of this picture [Yanks],” John recorded in his |diary, whether it’s commercially successful or not, I’m making the right move at this moment of my career.” Certainly, he was now enjoying being back in England, defying the odds in mounting a major film there - even if none of the money was British. “There is sheer pleasure in having won all our financial battles in getting the thing off the ground after an extremely depressing summer, when I really felt that it would never see the light of day.” ’

***

‘ “Vanessa [Redgrave] is without question one of the best actresses I’ve ever worked with,” John told his diary. “She is the consummate actress, able to take direction, really a wonderful musical instrument, so to speak, for a director to play.” ’

Tuesday, May 23, 2023

What is the answer? Money!

Very many happy returns to Joan Collins, 90 years old today. A famous British actress best remembered for her role in Dynasty, she is now considered one of the last surviving stars from the Golden Age of Hollywood cinema. Apart from her long career in films and television she has also authored at least eight autobiographical books, one of which is a selection of entries from her ‘unapologetic’ diaries. Here she is in her early 60s, ruminating. ‘What do I really want to do? I would like to just live a happy life, and I don’t think that doing an American sitcom is going to make me that happy. What is the answer? Money! And with my kids and lifestyle, I need plenty of it.’

Collins was born in London on 23 May 1933 to a theatrical agent and a former dancer. She and her two younger siblings (sister Jackie would become a famous author) were thus much exposed through childhood to the entertainment industry. Aged 15, she enrolled at the Royal Academy of Dramatic Art, but also took modeling jobs to supplement her allowance. In 1952, she earned a first film credit, playing a teenage delinquent in Judgement Deferred. She then signed a five-year contract with J. Arthur Rank. Through the first half of the 1950s, she appeared in many films, being given increasingly better roles. In 1954, she was chosen by US director Howard Hawks to star as the scheming Princess Nellifer in Land of the Pharaohs. This led to a seven year contract with 20th Century Fox. She made her Hollywood film debut in the lavish drama The Virgin Queen, given equal billing with the likes of Bette Davis and Richard Todd.

Having been passed over to play the title role in Cleopatra, with the part going to Elizabeth Taylor, she became disillusioned with 20th Century Fox, and returned to London. Various films in the UK, Italy and again in the US followed. By the late 1960s, she was making guest appearances in many (now famous) television serials, and subsequently in TV movies. The 1970s saw her lead in many more films (appearing with Robert Mitchum in The Big Sleep, for example, and in a film version of her sister Jackie’s racy novel The Stud). In 1981, she joined Dynasty a struggling American soap opera, taking the role of Alexis Colby, the beautiful and vengeful ex-wife of an oil tycoon. Dynasty ran through the 1980s becoming the US’s number one TV show. Collins was nominated six times for a Golden Globe Award, winning it the once, in 1983. In the early 1990s, she starred in a stage revival of Noel Coward’s Private Lives as well as in a set of Coward’s plays for the BBC.

Into the 21st century, Collins continued acting regularly for screens big and small and onstage, but she also appeared frequently on chat and celebrity shows. In 2006 she toured the UK with a solo stage act, An Evening with Joan Collins, subsequently taking it to the US. She published a good number of books, some autobiographical, some on beauty, and some fiction. She was made a Dame Commander of the Order of the British Empire (DBE) in 2015. She has been married five times, has three children and several grandchildren. Further information is available from Wikipedia, IMDB and Encyclopaedia Britannica

One of Collins’s autobiographical books is a collection of diary entries entitled My Unapologetic Diaries (Weidenfeld & Nicolson, 2021). She ends a short autobiographical prologue as follows: ‘And now I’m spilling the beans! Well, nearly all of them. I’ve always been a diarist, starting at age twelve with a tiny five-year diary of the kind you’d find at Smythson’s, and writing sporadically over the years. What you will read in the following pages was written when “I felt like it” between 1989 and 2006.

I dictated most of these entries in real time, into a mini tape recorder, every night when I came home. There is no rhyme or reason why there are gaps of years between entries. I do know that interesting events happened in those gaps, but I guess I wasn’t in the mood, or I couldn’t find my tape recorder, or maybe the tapes ended in the same place as Richard Nixon’s lost eighteen minutes. . .

Anyway, here they are, with NO apologies to anyone mentioned in them. Enjoy!’

24 October 1996
‘Meet Sacha and Erin at The Ivy. Supposed to be joined by Gary Pudney, but he doesn’t call or show. That’s Hollywood folks. At the next table is Jennifer Aniston, the current crème de la crème heartthrob of Friends on TV. I’ve never seen such slender arms. Also at the next table is an unrecognisable Cheryl Tiegs. Why do women over forty think they can go around wearing no make-up. I looked at Erin and say, “No woman over thirty should ever go out without make-up - you’re a girl after my own heart.” Jeffrey joins us and we discuss Sacha’s upcoming Vanity Fair layout, and his exhibition which he is planning on 1 February. We swap Polaroids from our various shoots yesterday. His is absolutely fabulous from Vanity Fair and for the first time in a photograph I can see the incredible combination of Tony and me in his face.

Dine with Jeffrey, Debbie Miller and Chris Barrett, my agents, and Mark Paresio, a new literary agent at Metropolitan. Drai’s restaurant is buzzing. Thursday night must be the night to be here. Joanie Schnitzer is sitting with Boaz. Plus the usual suspects. We have a fun dinner in which yet another television idea is pitched to me by Mark. This one I really like more than anything else. It’s a one-hour drama called ‘Georgetown’, set in Washington with all its political plottings and plannings. I would play a Pamela Harriman type. It sounds fabulous. I would make a good Pamela Harriman, although I don’t think that I possess her Machiavellian way and manipulative spirit. The usual paparazzi are outside. I am wearing my new simple look. Since Hollywood has embraced this in a big way, you leave the pearls and the glitz and the diamonds and the big hair at home. This is a bit difficult for me as I rather like it. I notice Joanie Schnitzer hasn’t left hers at home.’

30 November 1996
‘Went with Jeffrey and Erin to see 101 Dalmatians at the Academy. God, what a piece of shit! Without too many sour grapes or bitterness, I thought Glenn Close was perfectly awful as Cruella de Vil. I really wanted to play this role, and would have done anything, well almost, to get it. She plays it totally without humour and without any kind of vulnerability. All in all, it was the yawn of the year, and I’ll be amazed if it makes anybody over the age of nine want to go and see it. [ . . .]

Peter was very positive about me. He said how beautiful I was etc. etc., how great I looked, blah-blah. And he did make some very interesting suggestions: a) he thought I should change my hair, as my short, dark hair is so much associated with Alexis. He suggested going sort of a deep red, as producers would then see me in a different light.

“That’s probably why they don’t want to develop something for you, because you look the same as you did in Dynasty.”

“Maybe it’s a good idea. I’m fed up with the way I look, anyway,” I said.

Then, b), he said he thought I should go on the Howard Stem Show. I’ve always wanted to do that. I think he’s rather brilliant. I thought I’d say as my opening line, “I’ve always wanted to know whether your dick is as small as you always brag about.” Peter seems to think that getting a younger, hipper audience is the answer. Answer? I really don’t know what the question is. Do I really want to get down and dirty, trading scatological jokes with Howard Stern? What do I really want to do? I would like to just live a happy life, and I don’t think that doing an American sitcom is going to make me that happy. What is the answer? Money! And with my kids and lifestyle, I need plenty of it.’

27 December 1996
‘Did a little shopping at a men’s shop, then came home to the dreadfully sad news on my answering machine that Jean-Claude Tramont had died. Sue Mengers had left the message and she sounded dreadful. I was terribly, terribly upset. It was only seventeen weeks ago that he was in the South of France, frolicking in the pool, playing poker, full of life and jokes. We just adored him, so it’s a terrible blow. Went in the pouring rain with Jeffrey to a party at Ian and Doris La Frenais’s place. A lot of reasonably interesting people there, like Kiefer Sutherland, Helmut Newton and his wife June, Dani Janssen, Wendy Stark and John Morrissey. The food was good and it was great seeing Ian, who’s always fun and cheered me up.’

29 January 1997
‘A meeting at Aaron Spellings palatial offices where Jonathan Levin - all smiles and, as they say in My Fair Lady, ‘oozing charm from every pore, he oiled his way around the floor’ - made nice to me. Also there were the writers Diane Messina and Jim Stanley, along with Steven Tann (Vice President of Programming) and Jim Conway (Executive Vice President of Spelling Television). Sat there trying to be intelligent about a role that I really know nothing about. They’ve decided to call her Christina. I’ve suggested Zelda or Valentina, but they wanted something more ‘royal’. The actress who was to play my daughter is now no longer on board and they still haven’t cast her, although they are supposed to start shooting in three weeks. How Hollywood.’

Tuesday, April 25, 2023

Vladimir Ivanovich in Hollywood

‘We had a tour of the Metro-Goldwyn-Mayer studio. It is a huge institution, located on fourteen acres of land. Everything here is large scale [. . .] We were shown the stores, set installations of entire streets and even towns, a huge set with a pool into which a submarine dives (this has been prepared for the new production of The Mysterious Island by Jules Verne), fragments of different shootings (for instance, the scene where a huge live boa constrictor is winding around the body of a half naked girl).’ This is from a diary kept when the influential Russian theatre director Vladimir Nemirovich-Danchenko visited Hollywood. Nemirovich-Danchenko - who died 80 years ago today - was a co-founder of the famous Moscow Art Theatre.

Nemirovich-Danchenko was born in 1858 into a Russian noble family of mixed Ukrainian-Armenian descent in western Georgia. His father was an officer in the Imperial Russian army. He was educated in Tbilisi, where he was already keen on drama, and then at Moscow State University. He left his studies to work in the theatre, first as a theatre critic, then as a playwright - his first play, Dog-rose, was staged in 1881 - and then also as a teacher. By 1891, he was installed as a teacher at the Moscow Philharmonic Society, where he trained many future famous actors. He espoused new ideas such as the need for longer rehearsals and less rigid acting styles.

In 1898, Russian theatre practitioner Konstantin Stanislavski (later to be renowned for his Method Acting) and Nemirovich-Danchenko founded the Moscow Art Theatre. This was conceived as a venue for naturalistic theatre, in contrast to the melodramas that were the main form of theatre in Russia at the time. Its first season featured plays by Ibsen, Aleksey Tolstoy and Shakespeare, but it was not until it staged several of Chekhov’s plays that the theatre became famous. Chekhov had envisioned that fellow playwright and friend Maxim Gorki would succeed him as the theatre’s leading dramatist but this was not to be. The theatre went into decline, until that is it took on international tours. With tensions growing between the two co-founders, Nemirovich-Danchenko set up, in 1919, a musical theatre studio branch. This was reformed into the Nemirovich-Danchenko Musical Theatre in 1926.

In 1943 Nemirovich-Danchenko established the Moscow Art Theatre School, which is still extant. He was awarded the State Prize of the USSR in 1942 and 1943, the Order of Lenin, and the Order of the Banner of Red Labor. He died in Moscow on 25 April 1943. Further information is available from Wikipedia, Encyclopaedia Britannica, IMDB, and Moscow Art Theatre

Nemirovich-Danchenko did not leave behind any diaries as far as I know, or certainly none that have been translated into English. However, a close associate of his, Sergei Bertensson who joined the Moscow Art Theatre in 1918, did keep a diary during a trip, taken with Nemirovich-Danchenko, to the United States in the 1920s. This was translated by Anna Shoulgat into English, edited by Paul Fryer, and published by the Scarecrow Press in 2004 as In Hollywood with Nemirovich-Danchenko, 1926-1927: The Memoirs of Sergei Bertensson. A few pages can be previewed at Googlebooks and Amazon.

According to the publisher: ‘Sergei Bertensson’s diary of his trip to Hollywood with Russian theatre great Nemirovich-Danchenko is a unique record of an extraordinary and under-documented chapter in film and theatre history. For a year Bertensson followed his employer as he met with directors, producers, and stars, forever discussing projects that would never be realized. Some of the leading figures in Hollywood history appear in this record, including Charlie Chaplin, Douglas Fairbanks, Mary Pickford, and John Barrymore. Bertensson’s observations of life in Hollywood on the eve of the talkies revolution provide us with a compelling snapshot of movie history in the making, seen from the unusual perspective of an outsider.’

Here are a few extracts.

6 October 1926
‘The whole day has been spent on the reading of the script of François Villon; however, we have finished it. Vladimir Ivanovich likes the denouement, but on the whole he has found lots of vague and absurd details.’

10-11 October 1926
‘Vladimir Ivanovich remains keen on The Snowmaiden and fantasizes on this subject a lot.

The scheduled lessons with Marceline Day did not take place. She did not come, having informed us that she had been called for shooting. We went to see how a big mass scene on the square before Notre Dame de Paris was shot at the Universal studio. This involved about 600 people. There was much noise, animation, banal gesticulation, and swinging of hands. Barrymore himself, in the comic makeup mask of “the king of fools,” sitting on the head of a statue of a horse, played with full nerve, was brave, vivid, and graceful like a statue.

When I met Ms. Day there, I suggested that she should continue her lessons with Vladimir Ivanovich on the next day, but she became somehow confused and said that first she had to discuss this with Considine. When Barrymore finished his scene, Vladimir Ivanovich told him about this. The former got awfully angry and called it a shame and a disgrace and promised to sort it out by the evening.’

15 October 1926
‘We had a tour of the Metro-Goldwyn-Mayer studio. It is a huge institution, located on fourteen acres of land. Everything here is large scale: the wardrobe - a four-story house, the storage of props and furniture - a four-story building as well, and it has enough furniture to furnish approximately 250 apartments. On a permanent basis they have thirty-four directors, fifteen “stars,” a group of actors (fifty people), 1,200 technical staff members, and 250 administrative people. The work is simultaneously carried out on seven to eight stages. They produce thirty movies a year, among them such big productions as Ben Hur, The Big Parade, and others. 

We were shown the stores, set installations of entire streets and even towns, a huge set with a pool into which a submarine dives (this has been prepared for the new production of The Mysterious Island by Jules Verne), fragments of different shootings (for instance, the scene where a huge live boa constrictor is winding around the body of a half naked girl). During one of the shootings Vladimir Ivanovich was photographed together with the “stars” Alice Terry and Ramon Navarro.

Upon completion of the tour, we were introduced to the director of the studio, Thalberg.

We had to wait for him for about ten minutes. Thalberg is a young man; he is not yet thirty, but his authority is absolutely unlimited, and he receives an enormous salary plus a royalty from the completed movies. He is said to be exceptionally smart and good at business. We stayed with him for just a few minutes and left with a strong impression that the whole organization was hallmarked with bad taste. As if after visiting the backstage of the Moscow Art Theatre you happen to visit the backstage of a provincial theater. If at Schenck’s studio there is not enough artistic atmosphere, here you do not feel such atmosphere at all. This is just a big and perfectly arranged factory.’ 

24-25 October 1926
‘We continued reading Camilla. We observed how a short love scene between Barrymore and Marceline Day was shot. The usual cliché: on her part - self-admiration and pleasant smiles; on his part - banal operatic gestures and movements (and he seems to feel uncertain and awkward inside).

The set is ultrarealistic. A piece of stone castle, a real stone staircase and landing leading to it; below there is a large garden and a pool with a fountain. The garden is a huge hedgerow made up of natural greenery, pruned in the style of Versailles. The entire garden is laid out with pieces of live green turf, and among this grass there are artificial trees with paper rose camellias. Paper roses decorate the branches of the bushes, fringing the castle windows. They persuade that in a photograph the artificial will brilliantly merge with the natural and will give quite a real picture. The arrangement of this garden demanded no less than two days of the most thorough work and lots of money.

Vladimir Ivanovich sent Mary Pickford a bouquet of flowers. He was greatly impressed with her artistry.’

Thursday, March 9, 2023

Sedaris gets the call

‘Roger Donald called from Little, Brown to say that he would like to negotiate a two-book deal. To celebrate, I bought a denim shirt, and thought it amazing how quickly one’s life can change. I never thought I’d want a denim shirt.’ This is from the diaries of the American humorist, David Sedaris, who, exactly 30 years ago today, discovered he would finally be a published author.

Sedaris was born in Johnson City, New York, in 1956 to an IBM engineer of Greek heritage and his Anglo-American wife. He grew up in a suburban area of Raleigh, North Carolina with five siblings. He attended Western Carolina University and Kent State University before dropping out in 1977. After dabbling in visual and performance art, he moved to Chicago in 1983 and graduated from the School of the Art Institute in 1987. While scraping a living from odd jobs (not least dressing up as a Christmas elf) he was invited by a local radio host, Ira Glass, to appear on a weekly programme, The Wild Room. This led on to a regular slot, edit by Glass, with National Public Radio. 

Sedaris moved to New York in 1991, and in 1993, he signed a two-book deal with Little, Brown and Company. Many of his essays began appearing in main stream magazines, such Harper’s, The New Yorker, and Esquire. His first book - Barrel Fever - came out in 1994, and Naked followed in 1997. In 2001 he was awarded the Thurber Prize for American Humor. Dress Your Family in Corduroy and Denim came out in 2004. His recording of pieces from the book was nominated for a Grammy Award for best spoken-word album; and his Live at Carnegie Hall received a Grammy nomination for best comedy album. Further successful books followed, including a collection of entries from his diaries. His most recent publication was Happy-Go-Lucky in 2022. Since 2019, he has lived in Rackham, West Sussex, England, with his longtime partner, painter and set designer Hugh Hamrick. For further information see Wikipedia, Encyclopaedia Britannica or his own website

Sedaris has been a committed diarist for most of his life, indeed his very first broadcasts were based on extracts from the diaries. In 2017, Little, Brown published a collection of edited extracts from the diaries: Theft by Finding Diaries: Volume One. The book can be sampled at Googlebooks and the full work can be digitally borrowed online at Internet Archive.

Here is part of Sedaris’s introduction explaining how and why he keeps a diary.

‘Not long after deciding to release a book of diary entries. I came upon a five-pound note. I’d been picking up trash alongside a country road in West Sussex, and there it was between a potato-chip bag and a half-full beer can that had drowned slugs in it. Given the exchange rate, the bill amounted to around $8.15, which, as my mother would have said, “Ain't nothing”. A few days later I met with my friend Pam in London. The subject of windfalls came up. and when I mentioned the money she asked if I’d spent it.

“Well, of course.” I said. 

“In the U.K. if you discover something of value and keep it. that’s theft by finding,’ she told me. “You’re supposed to investigate whether it was lost or stolen, though in this case - five pounds - of course you’re fine.’

Theft by Finding. It was, I thought, the perfect title for this book. When it comes to subject matter, all diarists are different I was never one to write about my feelings, in part because they weren’t that interesting (even to me) but mainly because they were so likely to change Other people’s feelings, though, that was a different story. Got a bone to pick with your stepmother or the manager of the place where you worked until yesterday? Please, let's talk! If nothing else, a diary teaches you what you’re interested in. Perhaps at the beginning you restrict yourself to issues of social injustice or all the unfortunate people trapped beneath the rubble in Turkey or Italy or wherever the last great earthquake hit. You keep the diary you feel you should be keeping, the one that, if discovered by your mother or college roommate, would leave them thinking. If only I was as civic minded/bighearted/philosophical as Edward

After a year, you realize it takes time to rail against injustice, time you might better spend questioning fondue or describing those ferrets you couldn’t afford. Unless, of course, social injustice is your thing, in which case - knock yourself out. The point is to find out who you are and to be true to that person. Because so often you can’t. Won’t people turn away if they know the real me? you wonder. The me that hates my own child, that put my perfectly healthy dog to sleep? The me who thinks, deep down, that maybe The Wire was overrated

What I prefer recording at the end - or, more recently, at the start - of my day are remarkable events I have observed (fistfights, accidents, a shopper arriving with a full cart of groceries in the express lane), bits of overheard conversation, and startling things people have told me. These people could be friends but just as easily barbers, strangers on a plane, or cashiers. A number of their stories turned out to be urban legends: the neighbor of a relative whose dead cat was stolen from the trunk of a car, etc. I hope I’ve weeded those out. Then there are the jokes I’ve heard at parties and book signings over the years. They were obviously written by someone - all jokes are - but the authors are hardly ever credited in the retelling. 

Another thing I noticed while going through my forty years of diaries is that many of the dates are wrong. For instance, there might be three October 1, 1982s This was most likely because I didn’t know what day it was. Time tends to melt and run together when you don’t have a job. In that prelaptop era, you had to consult a newspaper or calendar to find out if it was Wednesday the eighth or Thursday the ninth. This involved getting up, so more often than not, I’d just stay put and guess. Quite often I’d even get the month wrong.

It might look like my average diary entry amounts to no more than seven sentences, but in fact I spend an inordinate amount of time writing about my day - around forty-five minutes, usually. If nothing big happened, I'll reflect on a newspaper article or a report I heard on the radio I’m not big on weather writing but have no policy against it. Thus when life gets really dull. I’ll just look out the window and describe the color of the sky. That will lead to something else, most often: a bird being mean to another bird or the noise a plane makes.’

And here are several extracts from the diaries including those in which he writes about his first book deal, some three decades ago.

7 June 1987, Chicago
‘I dared myself to lean too hard against one of the living-room windows yesterday, and it broke and cut my elbow up. Later in the afternoon I took the empty frame to the hardware store, where they said it would cost $30 for new glass. That seemed exorbitant to me, so I was walking back home by way of the empty lot when an American Indian woman grabbed on to it, saying she’d been looking for a window frame just like this. “I need it,” she said. “Hand it over.” Her face was strikingly flat, and for a second all I could do was stare at it.

The woman was holding a beer bottle and put it down so she could grab my window frame with both hands. “Turn it loose,” she said, and the several drunk people behind her cheered her on. Then a man who was slightly less drunk told her to let it go. “Leave him alone, Cochise,” he said. “This here’s a working man.”

I haven’t worked in more than three weeks, but it was nice to be mistaken for someone with a job. Today I took the frame down a different street to the L, where I thought I’d try another hardware store. Right near the station a man asked me for money, and when I walked by he shouted, “Watch where you’re going with that thing, asshole! You almost killed that girl. You almost hit her with that window, you fucker.”

I said, “What?”

“You just about hit that baby, you son of a bitch. I’m going to kill you. I’m going to teach you a lesson you’ll never forget, you little fuck. You can’t get away from me.”

The guy was really beside himself, and I’m lucky I was so close to the ticket window. I worried he’d panhandle enough money to reach the platform before the train arrived, but luckily he didn’t. And what baby? I didn’t see any baby.

Why did I have to break that window, and on a dare, for God’s sake?’

13 February 1989, Chicago
‘Tonight at Barbara’s Bookstore, Tobias Wolff read from his new memoir, This Boy’s Life. All the seats were taken, so I sat on the floor in the front and tried to act normal. I was too shy to say anything when I got my book signed, afraid that if I started talking, everything inside me would just spill out.

He seemed like a kind person and wore a turtleneck, a plaid shirt, a tweed jacket, and jeans with black socks and running shoes. I have to be his biggest fan.’

12 July 1990, Chicago
‘For the third time this week, a man approached me and asked if he could have $1. He pointed to a van and said that it was his. “It broke down and if I don’t get to work, I’m in big trouble.”

Each time it’s a different guy, but it’s always the same van. A scam, obviously, but even if the story was true, who goes to work with no money in his pockets? What if you ran out of gas?

When I taught my night class in the Fine Arts Building, I was often asked for money by a woman who said she’d been robbed and needed to take a commuter train to one of the northern suburbs. Even the first time I saw her I thought, Really? You can’t call a friend or a family member? You’re honestly going to hit up total strangers for your fare? Like the men with the van, she was always well dressed and acting frantic.’

16 October 1991, New York
‘Amy and I walked up 8th Avenue to Intermezzo, where Hugh and his friend Sue were having lunch. “Here you are!” Amy shouted. “Just what do you think you’re doing? You can’t afford to be eating here, not when I’ve got a five-month-old baby waiting in the car. And wine too! You’re drinking wine! I hate being your sponsor, I really do.” Everyone stared and Hugh turned bright red.

Afterward I went to Macy’s, where I filled out umpteen forms, peed into a jar, and had my eyes tested. This year, as a returning elf. I’ll make $9 an hour. Regular Christmas help gets only $6.’

16 January 1993, New York
‘Helen’s forty-two-year-old nephew was a public-school teacher and today he died of AIDS. I said I was sorry to hear it and Helen said, “The bastard. Thought he was Mr. Big because he had an education, but where’s him and his college degree now? In the ground, that’s where. The last time I saw him, I called out, ‘Tommy!’ but he kept on walking. I say, ‘Fuck you, Mr. Smart.’ Yeah, we all know how smart he was now.” ’

24 February 1993, New York
‘This was an amazing New York day. In the morning I met with Geoff Kloske, the editorial assistant from Little, Brown who called a few weeks back to ask if he could read my manuscript. He’s only twenty-three, a kid, and has a grandmother in Jacksonville, North Carolina. We had coffee and afterward he took me to meet his boss, Roger, a big, good-looking chain-smoker who said that he, too, liked my manuscript and hopes to get back to me within a week or two.

Afterward I went to our play rehearsal (for Stump the Host). We open a week from tomorrow.’

8 March 1993, New York
‘The night before the play opened (at La MaMa), William dropped out, saying he wasn’t having much fun. “And if it’s no fun, why bother?”

I spent some time panicking and then decided to take the part myself, seeing as I know the lines. So I performed on Thursday, Friday, and Saturday. Opening night we had fourteen people in the audience. On Friday, there were forty, and on Saturday we were sold out. Meryl has extended our run, and thankfully Paul Dinello has agreed to take over my part. Hugh and Amy say, “Oh, you know you love being onstage.” But they’re wrong. I don’t. Not like that, anyway.’

9 March 1993, New York
‘Roger Donald called from Little, Brown to say that he would like to negotiate a two-book deal. To celebrate, I bought a denim shirt, and thought it amazing how quickly one’s life can change. I never thought I’d want a denim shirt.’

13 March 1993, New York
‘I met on Thursday afternoon with Don Congdon, the agent Roger Donald recommended. He proposed lunch and took me to Le Madri, an Italian place near his office and the fanciest restaurant I’ve been to in New York. Don is in his late seventies and was very elegantly dressed. A fine suit, a Pucci tie, a topcoat, even a black beret. The maître d’ knew him. “Right this way, Mr. Congdon.”

Our waiter poured olive oil onto a plate and then gave us bread, which I guessed we were supposed to dip into it. I had thinly carved steak arranged into a turban with grilled radicchio and endive. Don had pasta that he didn’t finish.

While eating, I learned that he represents William Styron, Russell Baker, Ellen Gilchrist, and Thomas Berger. He represented Lillian Hellman for a production of The Little Foxes in, I think, Russia, and Frank O’Connor. He told stories about wandering through the Village with J. D. Salinger, whom he called Jerry, and recounted the night the two of them went to hear Billie Holiday. I heard of the time Don was arrested by the vice squad during Prohibition, and then something about Dashiell Hammett. The problem was that it was all about the past. That said, I liked his language, especially his old-fashioned slang.’

30 April 1993, New York
‘Between cleaning jobs, I bought a coffee and sat in Union Square Park to read for a while. The benches there are sectioned off with armrests - this to prevent people from stretching out and sleeping, I imagine. I’d just lit a cigarette when a guy approached - wiry, around my age, wearing soiled white jeans and a Metallica T-shirt. His hair fell to his shoulders, he had a sketchy mustache, and he was carrying a paper bag. Ex-convict, I thought. It was a snap assessment, but I’m sticking by it.

The guy asked for a cigarette, and when I handed him one, he took it without thanking me. Then he pointed to my bag of cleaning supplies, made a sweeping gesture with his hand, and said, “I’m going to sit down there.”

There were plenty of other benches, so I said no.

“Goddamn it,” he said. “I told you to move your fucking shit.”

I got up and left, knowing that if I hadn’t moved my bag, he would have thrown it. If, on the other hand, I had moved it, he would have sat beside me and continued asking for things. All afternoon I thought about it and wished that I knew how to fight.’

8 January 1994, New York
Stitches (our play) opened Thursday night to an audience of fifty. La MaMa can squeeze in 120, so this wasn’t so bad. Friday was sold out, as was tonight. The Times came last night; tonight it was Newsday and the Voice. I want to tell them we were just joking. It’s not a real play, it’s what comes from doodling while you’re holding a bong. Whatever they have to say, it’s out of my control now and in the hands of the actors. My job is to play the host and greet people at the door as they enter.’

27 December 1994, New York
‘Christmas afternoon. Dad pulled out his film projector and a half dozen Super 8 movies from the late ’60s and early ’70s. I recall him standing in front of us with the camera back then, but, like the photos he takes of us on the stairs every year, I never knew what became of them. Two friends of Lisa’s had dropped by, and though nothing could be duller than watching someone else’s home movies, none of us cared. The moment we saw Mom, we forgot about our guests. They mumbled something on their way out - “Merry Christmas,” or maybe “Your kitchen is on fire,” whatever.

I never knew my mother had been captured on film moving. The first reel was from St. John in 1972. Mom Dad, Aunt Joyce, and Uncle Dick. We see the island. Boats. More island. More boats, and then there’s Mom, who waves good-bye before ducking into a thatched hut. Then the camera is handed to someone else, and we see Dad pull her out. He is young and handsome - he is always handsome. When he points at the camera. Mom buries her head in his chest. Then he lifts her chin and they kiss.

Watching this, Dad stomped his foot on the floor, the way you might if you just missed the bus and knew that another wasn’t coming for a long while. He rewound the film and replayed it a second time, then a third.

“Again,” we called. “Play it again.” To see them both on an island, so young and happy. I couldn’t believe our luck: to have this on film!’

28 August 2002, Paris
‘Shannon called to tell me I’m at number nine. This makes fifty-two weeks - a year on the Times paperback list. While she was very excited and congratulatory, the news left me slightly embarrassed, the way you feel when you’ve stayed too long at the party and notice your hosts looking at their watches. The hosts, in this case, are all the superior writers whose books haven’t sold more than a few thousand copies. On the bright side, I think I can write something much better than Me Talk Pretty. And if it fails and no one buys it, I can really feel good about myself.’

Tuesday, December 13, 2022

You feel like a knife

‘Late at night. Just back to the flat I’m staying in from reading the play at the [Glasgow] Citizens. It was sweet, sweet, sweet. A marvellous theatre. On its stage you feel like a knife. You can carve any word on any part of the auditorium.’ This is from a diary kept by Howard Brenton, the British playwright, while touring the country to raise funds to defend his play - Romans in Britain - against an obscenity suit. The master dramatist is eighty today - Happy Birthday.

Brenton was born on 13 December 1942 in Portsmouth, England, son of a policeman (and later a Methodist minister). Educated at Chichester High School, he read English literature at St Catharine’s College, Cambridge. He did well at poetry, and he wrote a play which was performed at the university’s theatre. In 1966, one of his plays was put on at the Royal Court in London, and in 1969 he joined Portable Theatre (founded by David Hare and Tony Bicat), for which he wrote Christie in Love. In 1970, he married Jane Margaret Fry, and they have two sons.

Through a long career, he has written more than 40 plays, some as recently as 2018, according to Wikipedia’s list of works. In 1973, he and David Hare were jointly commissioned by Richard Eyre to write a play for Nottingham Playhouse which resulted in Brassneck. In 1976, Hare directed Brenton’s Weapons of Happiness at the National Theatre’s newly commissioned Lyttelton stage; it won the Evening Standard award for Best Play. 

In autumn 1980, the National also staged Brenton’s controversial The Romans in Britain. The campaigner Mary Whitehouse brought a suit against the play’s director under the Sexual Offences Act. It caused a media storm, but was ultimately withdrawn. In 1985, Brenton again collaborated with Hare to bring the powerful Pravda to the National with Anthony Hopkins in the lead. Although Brenton wrote very little for the screen he did, oddly perhaps, write 14 episodes of the Bafta winning BBC spy series, Spooks (between 2002 and 2005). He was elected a Fellow of the Royal Society of Literature in 2017. Further information can be found at Wikipedia and the Old Cicestrians website.

Brenton has written only two books, both published by Nick Hern. The first was a novel in 1989 (Diving for Pearls) and the second was a collection of articles he’d authored along with extracts from his diaries - Hot Irons (1995). The full work can be borrowed digitally and freely at Internet Archive

In a ‘Note’, Brenton explains the book contains four diaries: ‘three are travel diaries, one kept while on tour in England doing a reading of The Romans in Britain, one while travelling in Australia in Far North Queensland’s rain forests and one while visiting the Soviet Union towards the end of the Gorbachev era. The fourth diary is, I suppose, a kind of travel piece also: it is the headlong rush through a rehearsal period of a play of mine at the Royal Court in 1992. I made some cuts in the diaries, but they stand as they were written.’

According to the publisher’s blurb: ‘Howard Brenton has long been stuck with the label ‘controversial’. Early in his career he was misquoted as wanting his plays to be like ‘petrol bombs through the proscenium arch’. His Churchill Play foresaw a Britain where political dissidents were interned in concentration camps. His Romans in Britain was prosecuted by Mary Whitehouse. And there have been plays on Rudolf Hess, Mikhail Gorbachev and the Rushdie affair. . . This volume of essays and diaries, however, reveals a much more complex, humane and thoughtful person than the headlines and snap judgments would allow.’ 

Introducing the first of the diaries, Brenton explains: ‘In 1982 Michael Bogdanov, the director of my play The Romans in Britain, which had been premiered at the National’s Olivier Theatre in 1980, was charged under a section of the Sexual Offences Act in a private prosecution brought by a ‘moral campaigner’, Mrs Mary Whitehouse. She objected to a scene in Act One of the play, an attempted rape of a male Celt by a Roman soldier. The case was a bizarre affair that dragged on for well over a year, through three hearings in a magistrates’ court before we ended up in the Old Bailey. Though it was Michael who was going on trial, one of the most wretched aspects was that it was my play that had put him there. I wanted to do something and decided to go on a one-man tour, reading the play, to raise money for the Theatre Defence Fund, which had been set up to raise money for what we feared was going to be a hefty legal bill.’

Here are two extracts from Hot Irons.

21 February 1982 

‘Late at night. Just back to the flat I’m staying in from reading the play at the Citizens.

It was sweet, sweet, sweet. A marvellous theatre. On its stage you feel like a knife. You can carve any word on any part of the auditorium. For half an hour I felt myself overworking, a mess, sweating and straining, knowing that all I had to do was - do it.

You could let the book levitate out of your hand and make the play up on the spot.

I’m high, I must calm down.

The northern audience laughed at the southern dialects, the Legate and Tom Chichester. British audiences have perfect pitch when it comes to regional speech and class.

I did feel tonight I was performing the play. Really I’m only sitting there for two and three-quarter hours, reading it. But by some kind of sleight of hand, or mutual agreement, it’s a performance. Odd.

Someone said to me afterwards, ‘How the hell did they stage it?’ Good.

In the dressing room 1 remembered an acting exercise to fix on characters by thinking of them as animals. A crude but fierce ‘talisman’ of a character. I did that and it helped. I remember the director, Barry Kyle, after eight weeks’ work with Ray Westwell in the RSC rehearsals of The Churchill Play, saying one word to Ray, about to play my Churchill on the opening night: ‘Bulldog.’

The Citizens have every show watched by the assistant director, Kim Dambaek, so notes are given every evening. My reading was no exception. A good system: the National have it, the RSC don’t. Kim said I could syncopate more, go further with throwing my voice about. He also soothed my paranoia about the reading being boring. It is not boring. (Why the hell isn’t it? It should be the most boring thing on earth, someone reading a play at enormous length. Perhaps the expectation is so low that you start on the floor, so everything and anything you can do for the audience, is a plus. I certainly sense the apprehension at the beginning of the reading: ‘Oh my God he’s going to read it - all of it.’ Then ten minutes on, ‘Oh. A woman with a strange hair-do and six dogs at her heels. Oh. I see.’ And you’re away.)

Now, food! Bath! The white wine the Citizens staff gave me to take to my lonely bed.’

1 March 1982
‘Now I’m at Warwick University, a guest of the Student Union. It’s raining. The concrete of the campus is sodden, and the windows are steamed up. I’m sitting in the Arts Centre coffee bar. It’s typical of the ‘Arts Centres’ built in the sixties on university campuses. It’s a white elephant, a car-drive away from any public and ignored by most of the students. It has an ugly main house but a good studio theatre.

I spent a happy and turbulent year here, 1978 to 1979, as ‘Resident Writer’. I got some free teaching. A maths teacher gave me an idea for my new play The Genius [premiered at the Royal Court in 1983], 1 ran a weekly workshop, wrote in the student newspaper, did a farewell improvised play and wrote most of The Romans, sitting in a sun-trap, concrete-walled, little garden at the back of my campus flat. It was an idyll. Rolf Lass, one of the teachers in the English Department and an old mentor from my Cambridge days, even got me reading Anglo-Saxon poetry for the first time.

Sadly all the students I knew in 1979 have left. The generations pass in a university, three years on and nothing of the young people I knew, what they did or thought, is left. There’s no transmission of memory amongst ‘the student body’. They have tradition, but no memory.

I’ve lost my tobacco. The rain’s drenched my trousers. There’s no advertising for the reading. Everything’s grey and smelling of rotting grass. And I have a premonition: they’ve got the day wrong!

Right. To the gents to clean up, to the University bookshop to cheer up, then I’ll go and find Dave Chumbley, organiser of this gig.’

It is also worth noting that Brenton appears often in the diaries of Peter Hall as edited by John Goodwin and published by Hamilton in 1983: Peter Hall’s diaries: The Story of a Dramatic Battle (also freely available at Internet Archive). Here are several extracts about Brenton.

11 July 1973
‘To the Royal Court to see Magnificence by the new writer Howard Brenton. This is bursting with talent although not fully achieved. He has no sense of overall form yet. But there is a great imagination at work and a wonderful power of speech and character. I also like the way he uses time: following a long first act when a group of young revolutionaries occupy a deserted house, there is an electrifying five minutes of action, a tumult of disaster, which overwhelms the audience after the naturalistic rhythm of what preceded it. Brenton is a writer worth watching. He is also very funny. He deals in caricature, but his voice is assured.’

17 June 1974
‘My first meeting with Howard Brenton. A huge man, shy, a little fat, delivering occasional knockout remarks like a gentle pugilist suddenly lashing out. He is very like his plays, a sure sign of a fine artist. He is the first of the new, young ones to be utterly enthusiastic about the new building and the possibilities of reaching a big audience at the new National. He will write a play for us and he wants David Hare to direct it.’

9 June 1975
‘Fascinating interview in Theatre Quarterly with Howard Brenton: I want to get into bigger theatres, because they are, in a sense, more public. Until that happens you can’t have any worth as a playwright... It’s like getting hold of a Bechstein, hitting a really superb instrument, when before you’ve been shouting about with a penny whistle or a mouth organ. You realise how powerful the new instrument is, and varied, and how much fun.

I think the Fringe has failed. Its failure was that of the whole dream of an alternative culture, the notion that within society as it exists you can grow another way of life which, like a beneficient and desirable cancer, will in the end spread through the Western world and change it. What happens is the alternative society gets hermetically sealed and surrounded. A ghetto-like mentality develops which is surrounded and in the end strangled to death. . . I think in that sense the Fringe was a historical thing. Where it went wrong was when the Fringe audiences became spuriously sophisticated. That was when it was time to get out - it was becoming arty.’

21 October 1978
‘Read Howard Brenton’s new play The Romans in Britain. It’s very exciting, and shattering in its power. The sequence where Caesar and his hordes suddenly turn into modem British troops in Northern Ireland sent shivers down my back. It sounds an obvious parallel, and cheap, but it’s not, and Howard takes no sides. But there is a lot of work on the play still to be done.’

For more extracts from Hall’s diaries see Happy days with Peggy.