Abstract
There was a conscious circularity in Durrell’s writing which, at the close of Quinx, sees the entire cast entering the mountain as if in pursuit of his first figure, the Pied Piper. The Avignon Quintet sums up, and puts an extra dimension onto, his previous work, and Quinx itself sums up the quintet. There is a distinct sense in which Durrell had achieved the ‘evolved heart’ by passing through the alienation and despair of the city, and another sense, equally distinct, in which his ‘God’, his own authorial presence, had evolved, as Durrell had said it must (see above, p. 222).
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Notes and References
Construire, op. cit.
CERLD, op. cit.
L. Lemon, ‘The Imagination of Reality: The Reality of Imagination’, in Deus Loci, n.s. 1 (1992), ed. I. MacNiven, p. 44.
In 1988 the artist Paul Hogarth published The Mediteranean Shore: Travels in Lawrence Durrell Country; Durrell was struck by the recurrence of the surname, saying (in conversation with the author) ‘I’ve been analysed and finalised by Hogarth’.
‘Placebo’ ts, p. 7.
Kearney, Wake of Imagination, p. 395.
Bettelheim, Uses of Enchantment, p. 10.
Ibid., p. 146.
CERLD, uncatalogued item (folder labelled ‘Faustus’), letter from Durrell to Anthea Morton-Saner, 28 October 1987.
H. Arendt, The Life of the Mind (New York: Harcourt Brace Jovanovich, 1978) vol. 1, p. 75.
W. Stevens, ‘The Comedian as the Letter C’, cf. R. Browning, ‘The Statue and the Bust’, in Poetical Works 1833–1864, ed. I. Jack (London: Oxford University Press, 1970) p. 632, 1. 246: ‘The sin I impute to each frustrate ghost/Is — the unlit lamp and the ungirt loin.’
CERLD inv. 1359 (notebook for Sebastian) p. 66.
Ibid., p. 13.
Robert M. Grant (ed.) Gnosticism (New York: Harper, 1961) p. 144; passage marked by Durrell in his copy (SIUC/LD/Accession II).
SIUC 42/19/8.
James A. Brigham, ‘Initiatory Experience in The Dark Labyrinth’, OMG/ 2, p. 20.
Grant, introduction to Gnosticism, p. 13; passage marked by Durrell.
D. Kiberd, ‘Introduction’ to Ulysses (London: Penguin, 1991).
CERLD inv. 1345(a), page attached to item 1345, dated ‘August 1984’, ms marking in margin: ‘Ahem!’
Cf. D. C. Lau, introduction to Tao Te Ching, p. 16; ibid., p. 82: ‘I know not its name/So I style it ‘the way’./I give it the makeshift name of “the great”’ (XXV, 56a).
A. Memmi, The Coloniser and the Colonised (London: Souvenir Press, 1974)
F. Fanon, Wretched of the Earth (Harmondsworth: Penguin, 1967); E. Said, Orientalism.
Typescript introduction to works of Henri Michaux, SIUC/LC/Accession II.
Ibid.
Ibid. The correlation goes so far as Durrell pointing out that Michaux had ‘a solitary and unhappy childhood’, resulting in ‘the construction of a defensive private world’ and for whom ‘books were his real experience’, a poet ‘fully aware of the precious and fragile burden of human consciousness’.
R. Frost, ‘The Death of the Hired Man’ in The Poetry of Robert Frost, ed. E. Challon, (London: Cape, 1971) p. 38.
CERLD inv. 1349, p. 41.
A. W. Friedman, ‘“Not Lost But Gone Before”: Durrell and Death’, in OMG/2, p. 95.
‘Ulysses Come Back’
L. Edel, The Psychological Novel 1900–1950 (London: Hart-Davis, 1955) p. 91.
Béja, op. cit.
CalTech notes.
Edel, op. cit., p. 141.
CalTech notes.
Ibid.
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© 1994 Richard Pine
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Pine, R. (1994). The Heart Evolved. In: Lawrence Durrell: The Mindscape. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-23412-7_16
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