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“... When PamelaHansfordJohnson died in 1981, the New York Times described her as ‘one of England’s best-known novelists’. I knew her name, or thought I did, but couldn’t recall the title of any of her books. Her 27 novels ...”
? When I asked friends and family, they vaguely knew the name but couldn’t place it – until I said she was married to C.P. Snow and then they vaguely remembered that too. They were much ...”
“... He is a craftsman and designer rather than a poet. All that is usually introverted, implosive and dull in the experimental novel Coe turns into entertainment. He is writing a biography of B.S. Johnson – whom he admires – but he writes more like PamelaHansfordJohnson. He has established for himself a set of stylistic conventions – conversational smooth prose, non-sequential narrative, the ...”
“... insistently do all the characters continue to chatter (and, above all, so concerned is their creator that skulduggery should escape its penalty) that the true facts of the case are anybody’s guess. PamelaHansfordJohnson (in a British Council pamphlet) says one thing, and Robert Liddell (in The Novels of I. Compton-Burnett) says she is quite wrong. Close study suggests that Liddell is right. Or ...”
“... which he was rising ‘Snow’ was enough – surnames were, after all, then the common form of address. To call him ‘C.P.’, as some did even then, no doubt implied a special relationship. It was PamelaHansfordJohnson who put her foot down, when they were married in 1950, and who decided that he was to be called Charles; in relation to any earlier period the name is an innocent anachronism, which ...”
“... A big part of Thomas’s myth was his perpetual boyhood. Everyone thought of him as a child, including himself – ‘the shape of a boy, and a funny boy at that’, as he told his early lover PamelaHansfordJohnson. ‘I’m like a baby in the dark,’ he explained to Henry Treece, an Apocalyptic poet who wrote the first critical book about him, and with whom Thomas had a long and revealing ...”
“... insight is thus not brought to bear on the accused, but as a narrative it is recognisably the work of a writer who respects the art of fiction. A different sort of fictive impulse was exercised by PamelaHansfordJohnson when, reviewing the behaviour of Ian Brady and Myra Hindley on trial for the Moors Murders, she wrote her thoughts On Iniquity. Here was a perception of evil that distorted the more ...”