Search Results

“... writing a novel about Parliament relates to the characters’ credibility. Trouble begins, as John Lehmann once pointed out, when the author feels obliged to introduce a high-ranking minister. The real-life holders of office are too vividly before our eyes. Camp surmounts this problem by avoiding it. He opts instead for a recent past in industrial ...”

“... clerk, examining the author’s credit card in Seattle, asked him if he was related to the poet Stephen Spender. Assured of his customer’s identity, the clerk expressed his pleasure: ‘Gee, a near-celebrity.’ No doubt the status of full celebrity was reserved for movie stars and ball-players. At any rate there is little doubt that Spender is the most ...”

“... daunting severity, such as that to J.B. Leishman, who, having fallen out with his collaborator Stephen Spender on the vexed issue of a Rilke translation, suggested that he do it alone. To J.R. Ackerley, as literary editor of the Listener trapped in the BBC machine, he sends comments on that organisation which come from the other side but remind one of ...”

“... himself. Then came the Second World War and a sudden upsurge in reputation, with Maurice Bowra, Stephen Spender, John Piper, Kenneth Clark, John Lehmann and others going hysterical about her: a kind of trendy Stringalong situation, we are invited to judge. Then by 1954 it is all over and the balloon deflated for good. Can ...”

“... relationships of any intimacy’. We all felt we knew her much better than we really did. John Lehmann, writing of his early meetings with the young Stephen Spender, described Spender as ‘the most rapidly self-revealing person I had ever met’. Something of the sort might be said about Stevie: but one was ...”

“... riding-masters, and therefore is afflicted by rentier-guilt. (‘Recurrent as malaria,’ John Lehmann wrote in 1955, ‘a bout of rentier-guilt laid me low.’) Because Auden’s ideal or preferred or postulated reader has this socio-political identity, he is particularly easy to recognise; Trotter’s ingenuity and sensitivity are more taxed when dealing ...”

“... after retirement, had to be given ‘very firm encouragement’ to stop operating). As Leslie Stephen, first editor, once said, much of the value of the DNB lies in the light it sheds on the lives of the second-rate, meaning second-rank, about whom it is not easy to find information elsewhere. If we do not need it for Lord Blake’s long piece on Harold ...”

“... In Watson, the heir to the Maypole Dairy Company fortune, and founder with Cyril Connolly and Stephen Spender of Horizon, Craxton found a friend, an indulgent patron and a way into the avant-garde. He had a narrow brush with conscription, from which he was exempted because, according to the sergeant who gave him the news, ‘You’d be as much use to the ...”

“... his frequent collaborator, the designer Jocelyn Herbert. The nominal producer of The Old Crowd was Stephen Frears, but in real terms it was LWT and its then head of programmes, Michael Grade. Used as I was to the BBC and to my regular producer, Innes Lloyd, I found LWT entirely well-meaning but awkward to work with only because it wasn’t an organisation ...”

“... a more general difficulty: that of setting up a new order in the old vocabulary of Leavis and Stephen I-think-continually-of-those-who-were-truly-great Spender. Charlotte Mew, who was born on the edge of the square (and rather surprisingly does have a plaque), might have prompted some different adjectives. I wish Wade had said more about her unsettling ...”

“... Anthony Blunt (with whom he edited the Venture) and Dadie Rylands, the Apostles, and young John Lehmann, who fell in love with Redgrave in the Bloomsbury mode. ‘I am shallow, selfish . . . at times hideously immoral,’ Redgrave replied to the proposition, as if that might make him less attractive. But soon he is off to the Liverpool Playhouse for ...”

“... is essential. Occupation had always been her standby as it had been that of her father, Leslie Stephen. And words provided it. But if the words of the Diary prove one thing it is that, for a creative artist, they were no substitute for introspection. Turning back a volume or two we come to the dinner party in January 1930 with the Harrises. Bogey Harris ...”

“... Carpenter’s excellent life of Auden has a nice turn of phrase in recounting the moment when Stephen Spender, arrived in an Oxford of the later Twenties which was pervaded by the legend of Auden, at last met his fellow undergraduate and ‘found the reality just as remarkable as that legend’. The story appears to have come from Spender, himself ...”