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‘Une vie artistique’

  • Richard Pine

Abstract

Lawrence George Durrell was born in Jullundur, near Lahore, in the Punjab province of north-west India, on 27 February 1912. He died in Sommières, near Nîmes, in Provençal France, on 7 November 1990. Apart from several years spent in England in childhood and adolescence he lived primarily in the Mediterranean region, visiting England rarely, and seldom for longer than a few weeks on each occasion. His unusual odyssey became a quest for a lost home, an imagined place inherently related to the circumstances of his childhood. Life became a book of which the writing was more real than the living, its storyline engaging at all the compass points with the events of his life and their chronology.

Keywords

Punjab Province Film Treatment Black Book Compass Point Turtle Dove 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

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Notes and References

  1. 1.
    L. Durrell, ‘From the Elephant’s Back’, op. cit.Google Scholar
  2. 2.
    B. Disraeli, Tancred, as paraphrased by E. Said, Orientalism (London: Penguin Books, 1985) p. 5; cf. Disraeli, Tancred or, The New Crusade (London: Bodley Head, 1927) p. 360.Google Scholar
  3. 3.
    G. Durrell, The Garden of the Gods (London: William Collins, 1978) p. 113.Google Scholar
  4. 4.
    Cf. Said, Orientalism, pp. 1, 2,11, 20–1, 41,157.Google Scholar
  5. 5.
    ‘From the Elephant’s Back’, op. cit., pp. 59, 60; cf. also Ian MacNiven, ‘The Durrells of India’, conference paper delivered at the VIIth International Lawrence Durrell Society Conference, Avignon, 1992. The fact that in The Alexandria Quartet the deceased Brigadier Maskelyne is reported to have been the grandson of ‘this now forgotten Suffolk farm-boy’ who had enlisted in the army, and that ‘of Maskelyne’s own father there was no record among his effects’ (Quartet 835) has a strongly autobiographical flavour. ‘Darjiling’ was Durrell’s preferred spelling.Google Scholar
  6. 6.
    ‘From the Elephant’s Back’, op. cit., p. 60.Google Scholar
  7. 7.
    Ian MacNiven informs the author (from personal information from Lawrence Durrell) that Lawrence Samuel Durrell visited his son while he was at school at Canterbury, but that this may have been his only visit to England.Google Scholar
  8. 8.
    SIUC: 42/15/6; ‘notebook for Clea … France 1958’.Google Scholar
  9. 9.
    H. Miller, ‘Introduction’ to Selected Prose of Henry Miller (London: McGibbon and Kee, 1965) vol. 1.Google Scholar
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    L. Durrell, original interview with J. Fanchette, Two Cities, repr. in Labrys no. 5 (1979) p. 41.Google Scholar
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    The phrase was invented by Sir Henry Wotton and is repeated in AC 13; L. Durrell, ‘Writers at Work’, 2nd series, ed. G. Plimpton (London: Penguin Books, 1977) p. 268Google Scholar
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    SIUC: 42719/10; notebook dated ‘1962 Nimes’.Google Scholar
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    SIUC: 42/19/8; ‘quarry for Tunc-Nunquam’.Google Scholar
  16. 15.
    SIUC: 42/19/10.Google Scholar
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    SIUC: 42/15/6; notebook for Clea.Google Scholar
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    Magazine Littéraire, op. cit.Google Scholar
  20. 19.
    In conversation with the author.Google Scholar
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  22. 21.
    Steiner, Extraterritorial, p. 10.Google Scholar
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    Richard Aldington, quoted in A. Thomas (ed.), SP 11.Google Scholar
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    Cf. Brown, op. cit., p. 93; cf. SME 19: One day while passing the Jesuit school chapel [in Darjiling] I found the door ajar and tiptoed inside, curious as children are. In the deep gloom I came upon a life-size figure of Christ crucified hanging over the altar, liberally blotched with blood and perfectly pig-sticked and thorn-hatted. An indescribable feeling of horror and fear welled up in me. So this was what those austerely garbed and bearded priests worshipped in this dense gloom among the flowers and candles! It was hardly a logical sequence of feelings and sentiments — it was quite spontaneous and unformulated. But the horror remained with me always; and later on, when my father decreed that I must go to England for my education. I felt that he was delivering me into the hands of these sadists and cannibals.Google Scholar
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  32. 31.
    Magazine Littéraire, op. cit.Google Scholar
  33. 32.
    R. kipling, The Jungle Book (London: Macmillan, 1894); The Second Jungle Book (London: Macmillan, 1895).Google Scholar
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    Conversation with the author.Google Scholar
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    Les nouvelles littéraires op. cit.Google Scholar
  36. 35.
    Apart from one early title (published in 1905) Alexandra David-Neel’s first widely circulated title appears to have been My Journey to Lhasa (London: Heinemann, 1927), when Durrell would had been fifteen years old.Google Scholar
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    Conversation with the author.Google Scholar
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    ‘From the Elephant’s Back’, op. cit., p. 59 and Cercle/ts: ‘I have a special relation to elephants — an animal suspended by enormous ears between two pendulums. It is a happy animal, a philosopher-king of the forest, which can smile as well as tip-toe.’Google Scholar
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    R. Williams, Border Country (London: Chatto and Windus, 1960).Google Scholar
  40. 39.
    Steiner, Extraterritorial, p. 31.Google Scholar
  41. 40.
    Conversation with the author.Google Scholar
  42. 41.
    But see L. Durrell, ‘Propaganda and Impropaganda’ in Blue Thirst, op. cit., for Durrell’s mixed feelings about the profession of diplomat. In R. Green, ‘Lawrence Durrell: The Spirit of Winged Words’, Aegean Review [n.d.] Durrell said: ‘I’ve been progressively disgusted with our double-facedness in politics. … I refused a CMG [Commander of the Order of St Michael and St George] on those grounds, though I didn’t want to make an issue out of it, and I don’t want to — I’m conservative, I’m reactionary and right wing — so I don’t want to embarrass anybody. But the reason I made a polite bow-out of the whole thing [the offer of an official decoration after his posting in Cyprus] was that I didn’t want to be decorated by people who had bits of the Parthenon lying about in their backyard.’Google Scholar
  43. 42.
    Information from Ian MacNiven.Google Scholar
  44. 43.
    Les nouvelles littéraires, op. cit.Google Scholar
  45. 44.
    SIUC: 42/21/3.Google Scholar
  46. 45.
    ‘Writers at Work’, op. cit., p. 261.Google Scholar
  47. 46.
    Les nouvelles littéraires, op. cit.Google Scholar
  48. 47.
    An expression Durrell used in an address on Shakespeare which he appears to have given to a meeting of UNESCO in 1970 [letter to Durrell from Alexandre Blokh, 24 Novembre 1970], CERLD uncatalogued typescript, 5 pp.Google Scholar
  49. 48.
    ‘Two Dance Tunes for the Blue Peter Night Club Band … Sung by little Dixie Lee … 1935’ [clearly Durrell was employing his mother’s maiden name] — SIUC: 42/9/3 — dated ‘Argentina 1948’; see also PPL 370–71, where Walsh writes songs with such titles as ‘To Be or Not to Be’, ‘Hold Your Woman’ and ‘Never Come Back’: ‘“Never Come Back” is our epitaph, our requiem, our good-bye’.Google Scholar
  50. 49.
    Cf. DML 121, 125.Google Scholar
  51. 50.
    Redonda is an island in the Caribbean, 25 miles south-west of Antigua, which was annexed on behalf of Britain by the father of the Irish novelist M. P. Shiel, who in turn bequeathed his claim to the property (unpopulated but rich in phosphate) to Terence Fitton Armstrong, better known by his pen-name John Gawsworth. Gawsworth created several ‘dukedoms’, thus honouring friends such as Lawrence and Gerald Durrell, Richard Aldington, Victor Gollancz, Arthur Machen, Frank Swinnerton, Arthur Ransome, A. E. W. Mason, Henry Miller, Bertram Rota, John Heath-Stubbs, Dorothy Sayers, Martin Secker, Derek Patmore, Jon Wynne-Tyson (the present ‘King’), Rupert Croft-Cooke, J. B. Priestley, Rebecca West, Stephen Potter and L. G. Pine (the father of the present author).Google Scholar
  52. 51.
    SIUC/LD/Accession II/: box 6.Google Scholar
  53. 52.
    Ten Poems (London: Caduceus Press, 1932); Bromo Bombastes: a Fragment from a Laconic Drama by Gaffer Peeslake (London: Caduceus Press, 1933); Transition (London: Caduceus Press, 1934). In a copy of Transition inscribed to the Wilkinsons, Durrell wrote: ‘Its [sic] a sign, my sweets, that the delightful genius which I derive from an holy age of colonial warblers, still spates in an unbroken torrent of capricious continuity’ (CERLD reserve no.1705). The caduceus, a rod entwined by two serpents, was a symbol of power and one of the attributes of Mercury, the messenger of the gods: as a device for Durrell’s early poems it is an interesting herald of his later interest in the phenomenon of ophitism as manifested particularly in The Avignon Quintet. In his copy of The Worship of the Dead or The Origin and Nature of Pagan Idolatry and its Bearing Upon the Early History of Egypt and Babylonia by Colonel J. Gamier (London: Chapman and Hall, 1909), Durrell marked the following passage: All the Pagan gods were eventually identified with the Serpent, which was also regarded, like the Sun, as the Great Father, and was a symbol of the Sun. The Serpent, in short, was regarded both as the source of life, and also of wisdom and knowledge, and as the instructor of men [p. 108]. … Worship of the Sun and Serpent … by means of which the idolaters were eventually led, by a gradual process of development, to worship the Prince of the demons himself [p. 213]. … The [Serpent was] the form which the Prince of the Demons took when he persuaded Eve to eat. … and the Serpent was thus represented in paganism to be the bestower of knowledge and wisdom on man [p. 216]. Durrell’s copy is held in SIUC/LD/Accession II; cf. also SME 13.Google Scholar
  54. 53.
    Theodore Stephanides, ‘First Meeting with Lawrence Durrell’, Deus Loci, vol. 1 no. 1 (September 1977).Google Scholar
  55. 54.
    Durrell’s ticket for the reading room of the British Museum, contained in a notebook of 1938 inscribed ‘Lawrence Durrell, human being’, is numbered B52750 (SIUC: 42/9/2).Google Scholar
  56. 55.
    Cf. M. Haag, obituary notice of Lawrence Durrell, Independent, 9 November 1990.Google Scholar
  57. 56.
    Information from Ian MacNiven; Sappho Durrell thought that her grandfather had died of a heart attack (S. Durrell, op. cit., p. 61).Google Scholar
  58. 57.
    G. Durrell, My Family and Other Animals (London: Rupert Hart-Davis, 1956) pp. 15–16.Google Scholar
  59. 58.
    Stephanides, ‘First Meeting’, op. cit.Google Scholar
  60. 59.
    G. Durrell, The Garden of the Gods, p. 27.Google Scholar
  61. 60.
    Ibid., p. 29.Google Scholar
  62. 61.
    Cf. SP 104–5; DML 29, 36; the reference in The Black Book (p. 47) to Lobo who’ said good day with the frigidity of a Castilian gentleman dismissing a boring chambermaid’ perhaps owes something to Unamuno’s Mist, a work with which, as we shall see, Durrell had been familiar since the 1930s.Google Scholar
  63. 62.
    Cf. G. Durrell, Garden of the Gods, p. 66.Google Scholar
  64. 63.
    Cf. T. Stephanides, Island Trails (London: Macdonald, 1973) pp. 54–8. Another source for The Dark Labyrinth is a play sketch (SIUC 42/7/35 — possibly written in Paris in 1937), ‘The Maze: the guide dies while conducting a tour of the maze: leaving the dramatis personae lost in it a boy, a girl, a parson, a policeman, a thief, an undertaker, a whore, an old lady: the stranger’ — in fact, the stock characters who constitute, and enact, life itself in his novels.Google Scholar
  65. 64.
    SIUC/LD/Accession II: box 4: miscellaneous items.Google Scholar
  66. 65.
    SIUC/LD/Accession II: typescript ‘answers to questionnaire by a Paris journal’ [1973?] 6 pp.Google Scholar
  67. 66.
    For example an apparently unpublished typescript ‘Maiden Over’ (4 pp.) which begins: ‘What is so peculiarly magical about cricket if it isn’t its strange appropriateness to the landscape in which, and probably from which, it has sprung?’, CERLD uncatalogued ts.Google Scholar
  68. 67.
    Cf. Steiner, Real Presences, pp. 30, 60–1.Google Scholar
  69. 68.
    SIUC: 42/21/4 contains an appreciation of Hans Reichel in which Durrell recalled the painter saying: ‘“You must work the paint into the pores of the paper as if it were kisses penetrating human skin with the idea of love.” Then he added a little sadly “But the idea always falls short of reality”’; published as a preface to H. Miller, Order and Chaos chez Hans Reichel (Tucson, Ariz., 1966).Google Scholar
  70. 69.
    Durrell’s poetry notebook for 1938 (SIUC: 42/7/2) is inscribed ‘Jan. 1st 1938 Innsbruck/Austria’ and is followed by the quotation [sic]: εις τηv ɑρχηv ετɑv Ω λoγoς [in the beginning was the word]. It also includes his Paris address at this time: xxi rue Gazan Paris xiv.Google Scholar
  71. 70.
    Conversation with the author.Google Scholar
  72. 71.
    L. Durrell, preface to David Gascoyne, Paris Journal 1937–1939 (London: Enitharmon Press, 1978) p. 5.Google Scholar
  73. 72.
    Conversation with the author; cf. also D. Gascoyne, op. cit., p. 124: ‘April 16th. [1939] … aware of being perhaps the only human being there, in the middle of London, with any idea of what is really happening at this time upon this planet’.Google Scholar
  74. 73.
    Nicholas Moore, ‘At the Start of the Forties’, Aquarius, nos. 17/18 (1986/87) p. 104.Google Scholar
  75. 74.
    Delta, 2e année, issue no. 3 (Christmas 1938); cf. M. Bradbury and J. McFarlane, ‘Movements, Magazines and Manifestos: The Succession from Naturalism’, in Bradbury and McFarlane (eds), Modernism (Harmondsworth: Penguin, 1976) pp. 192–205, for a review of cognate publications such as Blast and the Dadaist manifestos.Google Scholar
  76. 75.
    Cf. Pine, The Dandy and the Herald, ch. 5, for a discussion of the Hamlet theme.Google Scholar
  77. 76.
    L. Durrell, ‘The Cherries’, typescript in UCLA Special Collection 637, box 2, f. 2. was published in the Daily Express series ‘Masterpiece of Thrills’, 1936 — a genre to which he returned in 1957 with ‘Letter in the Sofa’ published in the ‘Did it Happen Series’ in the Evening Standard.Google Scholar
  78. 77.
    Durrell wrote a preface for the English edition of Nin’s Children of the Albatross, to which Nin took exception (see A. Nin, The Diary of Anaï’s Nin, Vol. 6: 1955–1966 [New York: Harcourt Brace Jovanovich, 1976] pp. 172–3); however, relations were sufficiently restored for Nin to participate in the seminars which Durrell gave at CalTech in 1974.Google Scholar
  79. 78.
    Under the pseudonym ‘Charles Norden’ Durrell issued ‘Obituary Notice: a tragedy by Charles Norden’ (illustrated by Nancy Norden [Nancy Durrell]) published in Night and Day, 9 September 1937; his travel piece ‘A Landmark Gone’ (containing material which also appears at the opening of PC) was first published under ‘Charles Norden’ in Orientations, vol. 1, no. 1 (n.d. [1940/41?]) and subsequently in SP 187–90.Google Scholar
  80. 79.
    O. Rank, Art and Artist, trans. C. F. Atkinson (New York: Knopf, 1932). The inscription in Durrell’s copy, held at CERLD is: ‘To Lawrence Durrell — protegée of Jupiter and Neptune, born at the foot of the Himalayas in mounds of snow out of which emerged the Ionian edelweiss which carries him safely through one panic after another, and finally into the empyrean where with the great Buddha and other mystics he is at last enshrined in annihilation.’Google Scholar
  81. 80.
    5 May, 1945; published in TCL 33/3, p. 354.Google Scholar
  82. 81.
    Conversation with the author.Google Scholar
  83. 82.
    Letter to the author.Google Scholar
  84. 83.
    SIUC/LD/Accession II: notebook dating from c. 1938. The third jotting (‘Ci-gît …’) also appears in a variant form in a letter to Anne Ridler: TCL 33/3, p. 293.Google Scholar
  85. 84.
    Cf. T. S. Eliot, Four Quartets: ‘East Coker’ V, 1.2, The Complete Poems and Plays, p. 182.Google Scholar
  86. 85.
    C. Connolly, ‘England Not My England’, The Condemned Playground: Essays 1927–1944 (London: Hogarth Press, 1945) pp. 196–210.Google Scholar
  87. 86.
    Husserl’s view of ‘the crisis of European humanity’ is discussed in Milan Kundera, The Art of the Novel (London: Faber and Faber, 1988) pp. 3ff.Google Scholar
  88. 87.
    H. Miller, The Colossus of Maroussi (Harmondsworth: Penguin, 1950) p. 28; cf. also ibid., p. 225: ‘the Englishman in Durrell [is] the least interesting thing about him, to be sure, but an element not to be overlooked’.Google Scholar
  89. 88.
    SIUC/LD/Accession II: box 1, ‘Book of Travels’.Google Scholar
  90. 89.
    Cf. J. L. Pinchin, Alexandria Still: Forster, Durrell and Cavafy (Princeton, NJ: Princeton University Press, 1977) p. 159.Google Scholar
  91. 90.
    SIUC/LD/Accession II: box 1, ‘Book of Travels’.Google Scholar
  92. 91.
    ‘Alexandria Revisited: Lawrence Durrell’s Egypf, Listener, 20 April 1978.Google Scholar
  93. 92.
    Cf. L. Durrell, ‘The Viennese Temper’, Fiction Magazine, vol. 1, no. 2 (Summer 1982) 00.Google Scholar
  94. 93.
    Cf L. Esther, ‘The Plot to Save the Artists’, The Times Literary Supplement, 2 January 1987 00.Google Scholar
  95. 94.
    Fraser, op. cit., pp. 41–2.Google Scholar
  96. 95.
    Fitzrovia: Cf. H. David, The Fitzrovians (Sevenoaks: Sceptre, 1989); cf. also Tambimuttu in Labrys, 5 (July 1979) p. 167.Google Scholar
  97. 96.
    Cf. A. Tolley, The Poetry of the Thirties (New York: St Martin’s Press, 1975)Google Scholar
  98. A. Tolley, The Poetry of the Forties (Manchester: Manchester University Press, 1987)Google Scholar
  99. W. Pritchard, Seeing Through Everything: English Writers 1918–1940 (New York: Oxford University Press, 1977)Google Scholar
  100. V. Cunningham, British Writers of the Thirties (Oxford: Oxford University Press, 1988).Google Scholar
  101. 97.
    Rank, Art and Artist, p. 17Google Scholar
  102. 98.
    The Curious History of Pope Joan, trans. out of the modern Greek of Emmanuel Royidis by Lawrence Durrell (London: Verschoyle, 1954).Google Scholar
  103. 99.
    Esprit de Corps: Sketches from Diplomatic Life (London: Faber and Faber, 1957); Stiff Upper Lip: Life among the Diplomats (London: Faber and Faber, 1958); Sauve Qui Peut (London: Faber and Faber, 1966): these were collected in Antrobus Complete, but not every Antrobus story appears in every edition.Google Scholar
  104. 100.
    SIUC: 42/8/4.Google Scholar
  105. 101.
    SIUC: 42/11/1.Google Scholar
  106. 102.
    Kundera, op. cit., p. 14.Google Scholar
  107. 103.
    Sketches are contained in SIUC: 42/9/5.Google Scholar
  108. 104.
    Ethnikē Organōsis Kypriōn Agōniston: National Organisation of Cypriot Fighters.Google Scholar
  109. 105.
    Durrell noted the date in SIUC 42/12/5: ‘I took over’. A cutting (undated) from The [Cyprus] News records Durrell’s appointment: ‘His understanding of Greek and the Greeks is formidable, and there can be few men with a more sensitive appreciation of all that Greece stands for. The most ardent philhellene could find no fault with this appointment.’ It is not unlikely that Durrell himself was the author of this piece: contained in ‘Diary and Rough Notes 1955’ kept in a publisher’s dummy labelled ‘The Cantos of Ezra Pound’: CERLD uncatalogued item. Durrell was in the habit of ordering dummy volumes for use as notebooks.Google Scholar
  110. 106.
    ‘The Rosy Crucifixion’ was the collective title given to Miller’s trilogy: Sexus (1949), Plexus (1953) and Nexus (1960).Google Scholar
  111. 107.
    SIUC/LD/Accession II: box 1: ‘Book of Travels’. Psalm 75 begins: ‘Unto thee, O God, do we give thanks … for that thy name is near thy wondrous works declare.’Google Scholar
  112. 108.
    Stephanides, Island Trails, pp. 104–10. An uncatalogued typescript in CERLD dated ‘Corfu 1940’ refers to ‘Abandoned Ms.’ of ‘Island Trails [by T. Stephanides and L. Durrell]’: an explanatory note in Durrell’s hand, dated 23/2/89, reads: ‘he [Stephanides] would provide the scholarship and I the written text’.Google Scholar
  113. 109.
    The error in the published version of Mountolive is presumably due to the failure of the copy-editor at Faber to spot Durrell’s characteristic mis-spelling of ‘δαιµονος’ (Durrell frequently transposed adjacent letters, suggesting that he was almost dyslexic in this regard). The error arose in Durrell’s having wrongly noted ‘αγαθou διαµovoς’ from p. 207 of his copy of E. Rhode, Psyche: The Cult of Souls and Belief in Immortality among the Greeks (London: Kegan Paul Trubner Trench, 1925), which discusses ‘the ‘αγαθoς δαιµωv’ in relation to its chthonic powers and says that ‘on a snake on a talisman the words are written τo ‘ονοµα τov αγαθ0v δαιµονος’: Durrell’s copy is now in SIUC/LD/Accession II.Google Scholar
  114. 110.
    Cf. Pine, The Dandy and the Herald, pp. 151–6.Google Scholar
  115. 111.
    SIUC: 42/13/3; the article was published in Holiday (October 1966) as ‘Oil for the Saint; Return to Corfu’, and reprinted in SP 286–303.Google Scholar
  116. 112.
    SIUC/LD/Accession II: box 1 (catalogue item no. 3), notebook inscribed on cover ‘Notebook on Avignon book 1971’ and, below this inscription, ‘Notebook. Geneva. New Year 1967’.Google Scholar
  117. 113.
    SIUC/LD/Accession II: box containing material relating to ‘Ulysses’ also contains a letter to Durrell from Juliet O’Hea, of Curtis Brown, dated 26 June 1972, referring to the 169-page version of Judith and the 38-page scenario and saying ‘Just let me know when you would like it published’, suggesting that, beyond the already serialised version which had appeared in Woman’s Own between February and April 1966 (and, in French, in Elle in the same year as ‘le nouveau roman de Lawrence Durrell’) a fuller publication in volume form was anticipated.Google Scholar
  118. 114.
    W. B. Yeats, Explorations (London: Macmillan, 1962) p. 263.Google Scholar
  119. 115.
    SIUC: 42/13/5, letter to ‘Mr Wanger’ dated 28 March 1961.Google Scholar
  120. 116.
    Cf. letter from Durrell to Aldington, c. February 1960, in Literary Lifelines, p. 129.Google Scholar
  121. 117.
    Conversation with the author.Google Scholar
  122. 118.
    L. Durrell, ‘The Poetic Obsession of Dublin’, Travel and Leisure (Autumn 1972) pp. 33–70.Google Scholar
  123. 119.
    Conversation with the author; cf. also Nunquam 138: ‘I really have no foyer, no hearth of my own’, and the passages in the Quintet, particularly pp. 1091–2, where the need for an informal, congenial locale for those without a home is reiterated; cf. also L. Durrell, letter to A. Perles, in Art and Outrage (London: Village Press, 1973) p. 7: ‘to walk in this milky dusk with the smoke rising from the bistro. Click of billiard balls, clink on the zinc of white wine glasses …’Google Scholar
  124. 120.
    The first essay, ‘Tao and Its Glozes’, was, according to a note in SIUC: 42/7/2, ‘conceived as a 12,000 [word] critical essay’ and was published in The Aryan Path, vol. X, no. 12 (December 1939).Google Scholar
  125. 121.
    Wildeis credited with having made this remark in connection with speedily produced biographies of Rossetti by Hall Caine and William Sharp.Google Scholar
  126. 122.
    Letter from Durrell to Perlès, undated: SIUC/LD/Accession II.Google Scholar
  127. 123.
    Conversation with the author.Google Scholar
  128. 124.
    Manuscript notes clearly made during or shortly after Mrs Durrell’s funeral (cremation?) and subsequent reception (at a ‘Basil St. hotel with its resemblance to the Planters’ Club in Darjiling’) are contained in notebook in CERLD inv. 1349, pp. 50–2. The details noted were introduced into Durrell’s writing in the passage in Livia describing the funeral of Blanford’s mother (Quintet 478–80).Google Scholar
  129. 125.
    Construire, no. 4 (23 Janvier 1985).Google Scholar
  130. 126.
    Sunday Telegraph Magazine, 18 November 1984 ‘Lamas in a French Forest’; Durrell wrote on behalf of the Tibetan community to the President of France, inviting him to attend the official opening of the lamasery on 22 August 1978 (letter, uncatalogued, in CERLD; text of printed appeal, written by Durrell and listing Durrell, Jacques Lacarrièsre and Gerald Durrell as the ‘comité’, in SIUC/LD/Accession II).Google Scholar
  131. 127.
    Several versions of another poem, addressed to ‘F. K.’ (‘I’m dying more slowly since we met … For me the last love was the very best/You set the boundaries of my art apart/And gifted me a wideawake old heart’) are contained in a notebook in CERLD inv 1359, pp. 67ff.Google Scholar
  132. 128.
    SIUC/LD/Accession II.Google Scholar
  133. 129.
    SIUC/LD/Accession II: box 1 (catalogue item no. 3)Google Scholar
  134. 130.
    A. Burgess, obituary notice of Durrell, Independent on Sunday, 11 November 1990.Google Scholar
  135. 131.
    Haag, op. cit.Google Scholar
  136. 132.
    Obituary notice [anonymous] in The Times, 9 November 1990.Google Scholar
  137. 133.
    P. Howard, The Times, 9 November 1990.Google Scholar
  138. 134.
    Haag, op. cit.Google Scholar

Copyright information

© Richard Pine 1994

Authors and Affiliations

  • Richard Pine
    • 1
  1. 1.The Long HouseEmlaghmoreIreland

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