I suppose that the upcoming anniversary of the outbreak of war in August, 1914 has got me thinking again about the literature of the First World War. Having recently read Harry Rickett's excellent book Strange Meetings: The Lives of the Poets of the Great War (2010), I realised just how little I knew about so many of the writers he mentions. Some, admittedly, sound more interesting as people than poets: Robert Nicholls, for instance. It did get me daydreaming of a systematic re-reading of some of my favourites, though.
Probably first and foremost among these is Robert Graves. Just last year I managed to acquire the missing volumes of his nephew Richard Perceval Graves' rather soupy (but nevertheless indispensable) biographical trilogy about his uncle. I'd read them before, but they did remind just how long and complex - and strange - a time "old Gravy" (to quote Siegfried Sassoon's nickname for him) had of it: all those books, all those projects, all that basking in the sun in the Balearic Islands (or, rather, sitting inside reading and incessantly scribbling in Deyà, Majorca).
In fact it was rereading Sassoon's own (lightly fictionalised) autobiographical trilogy, Memoirs of a Foxhunting Man, Memoirs of an Infantry Officer and Sherston's Progress that got me going again on Graves (whom he calls, in context, "David Cromlech"). They were very different people, and their friendship did not long survive the war - though it was really the advent of Laura Riding, Graves's principal model for the "White Goddess" that clinched it. That, and some rather tactless demands for money on Graves's part ("Why keep a Jewish friend unless you bleed him?" as Sassoon rather chillingly remarked in a verse letter to RG).
Rather than personalities, then, I thought it might be best to concentrate on Graves's undoubted successes, his unequivocal masterpieces, if you like. In my opinion there are (at least) five of them:
- Memoir: Good-bye to All That: An Autobiography (1929)
- Revised edition (1957)
- Fiction: I, Claudius: From the Autobiography of Tiberius Claudius (1934)
- Claudius the God and his Wife Messalina (1934)
- Speculative Non-fiction: The White Goddess: A Historical Grammar of Poetic Myth (1948)
- Amended and Enlarged Edition (1961)
- Translation: The Transformations of Lucius, Otherwise Known as The Golden Ass (1950)
- Classical Scholarship: The Greek Myths (1955)
- Revised edition (1960)
The concensus of opinion now seems to be that the best version of this "early autobiography" to read is the 1929 one, published shortly before Graves's departure for Majorca with his new muse, Laura Riding. The 1957 revision, which is the one I first read myself (and which is most readily available) tends to soften the abrupt and eccentric typography and sentence structures of the original text, althrough it does expand on certain details (notably Graves's relationship with T. E. Lawrence). The awkward truth is that neither version is entirely satisfactory on its own: you really have to read both to appreciate the full force of Graves's imagination in full cry.
Ever since this book was dramatised by the BBC in the 1970s, it has needed little introduction (there was an earlier attempt to film it in the 1930s, with Charles Laughton as claudius, but that ended up on the cutting room floor, unfortunately). It remains by far the most convincing and entertaining revisionist history of the early Caesars, despite all the myriad attempts to supplant it since. It's also the most immediately accessible and readable of Graves's historical novels, despite the fascinating material included in many of the others.
It's hard to describe this book accurately without making it sound like the work of a raving lunatic. Graves's speculations take him from the stone age to late antiquity, and include "solutions" to any number of unsolveable riddles and conundrums. It has to be experienced to be believed, but there's no doubt that no-one has ever written a more explosive book on the true nature of the poetic imagination.
It may seem a little surprising to include a mere translation here, but I do feel that this one stands out from Graves's many solid achievements in this genre. There's something about his deadpan delivery which enables Apuleius' masterpiece to shine out, unimpeded by the clumsy literalism which so many of his other modern translators have clung to. It stays in print for a good reason: because people enjoy it more than any of the rival versions.
The successive editions of this work incorporated more and more of Graves's increasingly out-there conjectures about the ancient Greeks (the contention that "ambrosia" was magic mushrooms, for instance), but for sheer concision and completeness, it's hard to fault this work. It offers multiple versions of most of the stories, together with clear source notes and - admittedly speculative - explanations of some of their stranger features. In other words, it emphasises the dynamic and fluid nature of myth, rather than clinging to a single interpretative paradigm. That's one reason it's still of use 60 years after its first publication.
Some would add to this list his bizarre series of speculations about Christianity, culminating in the massive Nazarene Gospel Restored (1954) - and including along the way such eccentric works as My Head! My Head! Being the History of Elisha and the Shulamite Woman; with the History of Moses as Elisha related it, and her Questions put to him (1925), King Jesus (1946), Adam’s Rib and Other Anomalous Elements in the Hebrew Creation Myth: A New View (1955), Jesus in Rome (1957) and Hebrew Myths: The Book of Genesis (1964).
For me, that's a step too far. But I certainly acknowledge that this was - first to last - one of the subjects which most consistently interested Graves, from the very first poem in his Collected Poems, "In the Wilderness," about Jesus's meeting with the "guileless young scapegoat," to his later works of Biblical reconstruction, many of them written in collaboration with Talmudic scholar Joshua Podro.
But why no poetry? Graves was, after all, a poet first and foremost. I have to say that my enthusiasm for his poetry has waned over the years, though I still like a lot of the pieces included in his own successively winnowed-down volumes of Collected Poems, culminating in the 1975 volume which was the last he personally oversaw.
This has now been supplanted by the three-volume Carcanet edition of his Complete Poems (also available as a single volume, without the apparatus and textual variants). I suppose there would be an argument for including that, too, among the "indispensible" works of Graves. There's a lot there to take in, though, and certainly a lot that he personally repudiated along the way.
As a supplement to my usual habit of listing all the books which I, personally, own by Robert Graves (and there are many), I thought it might be best to begin by discussing Manchester poetry publisher Carcanet's fifteen-year Robert Graves project.
Beginning with the three volumes of Complete Poems mentioned above, they've reprinted, in handsome, well-edited new editions, the following texts - often in new, definitive versions. I've put in bold the ones that I myself own - or have on order at present:
- Selected Poems, ed. Patrick Quinn (1995)
- Collected Writings on Poetry, ed. Paul O'Prey (1995)
- Complete Short Stories, ed. Lucia Graves (1995)
- Complete Poems, Volume I, ed. Beryl Graves & Dunstan Ward (1995)
- Complete Poems, Volume II, ed. Beryl Graves & Dunstan Ward (1997)
- The White Goddess, ed. Grevel Lindop (1997)
- I, Claudius & Claudius the God, ed. Patrick Quinn (1998)
- The Sergeant Lamb Novels, ed. Patrick Quinn (1999)
- Complete Poems, Volume III, ed. Beryl Graves & Dunstan Ward (1999)
- Some Speculations on Literature, History and Religion, ed. Patrick Quinn (2000)
- Complete Poems in One Volume, ed. Beryl Graves & Dunstan Ward (1999)
- Homer's Daughter & The Anger of Achilles, ed. Neil Powell (2001)
- Greek Myths, ed. Patrick Quinn (2001)
- [with Laura Riding] Essays From 'Epilogue' 1935-1937, ed. Mark Jacobs (2001)
- [with Laura Riding] A Survey of Modernist Poetry & A Pamphlet Against Anthologies, ed. Patrick McGuinness and Charles Mundye (2002)
- The Story of Marie Powell, Wife to Mr Milton & The Islands of Unwisdom, ed. Simon Brittan (2003)
- Antigua, Penny, Puce & They Hanged my Saintly Billy, ed. Ian McCormick (2003)
- The Golden Fleece & Seven Days in New Crete, ed. Patrick Quinn (2004)
- Count Belisarius & Lawrence and the Arabs, ed. Scott Ashley (2004)
- [with Raphael Patai] The Hebrew Myths: The Book of Genesis, ed. Robert A. Davis (2005)
- King Jesus & My Head! My Head!, ed. Robert A. Davis (2006)
- {with Alan Hodge] The Long Weekend & The Reader over Your Shoulder (2006)
- Goodbye to All That and Other Great War Writings, ed. Steven Trout (2007)
- Translating Rome: Apuleius' The Golden Ass; Lucan's Pharsalia; Suetonius' The Twelve Caesars, ed. Robert Cummings (2010)
- [with Joshua Podro] The Nazarene Gospel Restored, ed. John Presley (2010)
It's a terrfiyingly ambitious project. They've republished all 14 of his historical novels; all his short stories; all of his poetry; a substantial selection of his essays, works of non-fiction and translations; as well as the most substantive of his collaborations with Laura Riding.
I'd really like to own the entire set, but one must be sensible - and, after all, I have most of the others in their original editions. The only serious deficiency in my own collection is their new edition of The Nazarene Gospel Restored (with significant revisions and additions). It seems to have gone out of print almost as soon as it was published. They do list it as "reprinting" on their website, though, so I do have hopes of being able to purchase it soon at a non-prohibitive price.
- Poetry:
- Graves, Robert. Over the Brazier. 1916. Poetry Reprint Series, 1. London: St. James Press / New York: St. Martin’s Press, 1975.
- Graves, Robert. Poems 1926 to 1930. London: William Heinemann Ltd., 1931.
- Graves, Robert. Collected Poems 1965. London: Cassell & Company Ltd., 1965.
- Graves, Robert. Poems 1968-1970. London: Cassell & Company Ltd., 1970.
- Graves, Robert. Poems: Abridged for Dolls and Princes. London: Cassell & Company Ltd., 1971.
- Graves, Robert. Collected Poems 1975. London: Cassell, 1975.
- Graves, Robert. Complete Poems, Volume 1. Ed. Beryl Graves & Dunstan Ward. Manchester & Paris: Carcanet & Alyscamp Press, 1995.
- Graves, Robert. Complete Poems, Volume 2. Ed. Beryl Graves & Dunstan Ward. Manchester: Carcanet Press Limited, 1997.
- Graves, Robert. The Complete Poems in One Volume. Ed. Beryl Graves & Dunstan Ward. 2000. Penguin Classics. Harmondsworth: Penguin, 2003.
- [Graves, Robert. My Head! My Head! Being the History of Elisha and the Shulamite Woman; with the History of Moses as Elisha related it, and her Questions put to him. London: Martin Secker, 1925.]
- Graves, Robert. I, Claudius: From the Autobiography of Tiberius Claudius. 1934. London: Arthur Barker Limited, 1936.
- Graves, Robert. Claudius the God and his Wife Messalina. 1934. London: Methuen & Co. Ltd., 1947.
- Graves, Robert. ‘Antigua, Penny, Puce’. 1936. Harmondsworth: Penguin, 1968.
- Graves, Robert. Count Belisarius. 1938. Harmondsworth: Penguin, 1954.
- Graves, Robert. Sergeant Lamb’s America: A Novel. 1940. Vintage Books. New York: Alfred A. Knopf, Inc. / Random House, Inc., 1962.
- Graves, Robert. Proceed, Sergeant Lamb. 1941. London: Methuen & Co. Ltd., 1946.
- Graves, Robert. Wife to Mr Milton: The Story of Marie Powell. 1943. Chicago: Academy Chicago Limited, , 1979.
- Graves, Robert. The Golden Fleece. 1944. Pocket Library. London: Cassell & Co., Ltd., 1951.
- Graves, Robert. The Golden Fleece. 1944. London: Hutchinson & Co (Publishers) Ltd., 1983.
- Graves, Robert. King Jesus. London: Cassell & Company Ltd., 1946.
- Graves, Robert. King Jesus. 1946. London: Hutchinson & Co. (Publishers) Ltd., 1983.
- Graves, Robert. Seven Days in New Crete: A Novel. London: Cassell & Company Limited, 1949.
- Graves, Robert. Seven Days in New Crete. 1949. Introduction by Martin Seymour-Smith. Twentieth-Century Classics. Oxford: Oxford University Press, 1983.
- Graves, Robert. The Isles of Unwisdom. London: Readers Union / Cassell & Company Ltd., 1952.
- Graves, Robert. Homer's Daughter. London: Cassell & Company Ltd., 1955.
- Graves, Robert. They Hanged My Saintly Billy. 1957. A Grey Arrow. London: Arrow Books Limited, 1962.
- Graves, Robert. ‘Antigua, Penny, Puce’ and They Hanged My Saintly Billy. 1936 & 1957. Ed. Ian McCormick. Robert Graves Programme. Ed. Patrick J. M. Quinn. Manchester: Carcanet Press Limited, 2003.
- Graves, Robert. The Big Green Book. Illustrated by Maurice Sendak. 1962. A Young Puffin. Harmondsworth: Penguin, 1978.
- Graves, Robert. The Siege and Fall of Troy: Retold for Young People. Illustrated by C. Walter Hodges. London: Cassell & Company Ltd., 1962.
- Graves, Robert. Collected Short Stories. 1964. Harmondsworth: Penguin, 1965.
- Graves, Robert. Complete Short Stories. Ed. Lucia Graves. 1995. London: Penguin, 2008.
- Graves, Robert. Poetic Unreason and Other Studies. London: Cecil Palmer, 1925.
- Graves, Robert. English and Scottish Ballads. 1927. Heinemann Educational Books Ltd. 1957. London: Heinemann, 1969.
- Graves, Robert. Lars Porsena, Or The Future of Swearing and Improper Language. 1927. London: Martin Brian & O'Keeffe Ltd., 1972.
- Graves, Robert. Lawrence and the Arabs. Illustrations ed. Eric Kennington. Maps by Herry Perry. London: Jonathan Cape Ltd., 1927.
- Graves, Robert. Good-bye to All That: An Autobiography. 1929. London: Jonathan Cape, 1929.
- Graves, Robert. Good-bye to All That. 1929. Rev. ed. 1957. Penguin Modern Classics. Harmondsworth: Penguin, 1973.
- Graves, Robert. Good-bye to All That: An Autobiography. 1929. Ed. Richard Perceval Graves. Providence, RI & Oxford, UK: Berghahn Books, 1995.
- Graves, Robert, & Alan Hodge. The Long Weekend: a Social History of Great Britain, 1918-1939. 1940. London: Readers’ Union Limited, 1941.
- Graves, Robert, & Alan Hodge. The Reader Over Your Shoulder: A Handbook for Writers of English Prose. London: Jonathan Cape Ltd., 1943.
- Graves, Robert. The White Goddess: A Historical Grammar of Poetic Myth. 1948. Amended and Enlarged Edition. 1961. London: Faber, 1977.
- Graves, Robert. The Common Asphodel: Essays on Poets and Poetry, 1922-1949. London: Hamish Hamilton, 1949.
- Graves, Robert. Occupation: Writer. London: Cassell & Company Ltd., 1951.
- Graves, Robert, & Joshua Podro. The Nazarene Gospel Restored. London: Cassell & Company Limited, 1953.
- Graves, Robert. Adam’s Rib and Other Anomalous Elements in the Hebrew Creation Myth: A New View. With Wood Engravings by James Metcalf. 1955. New York: Thomas Yoseloff, 1958.
- Graves, Robert. The Crowning Privilege: The Clark Lectures 1954-55; Also Various Essays on Poetry and Sixteen New Poems. London: Cassell & Company Ltd., 1955.
- Graves, Robert. The Crowning Privilege: Collected Essays on Poetry. 1955. A Pelican Book. Harmondsworth: Penguin, 1959.
- Graves, Robert. Greek Myths. 1955. Rev. ed. London: Cassell & Company Ltd., 1958.
- Graves, Robert. The Greek Myths. 2 vols. 1955. Rev. ed. 1958. Rev. ed. 1960. Pelican Books. Harmondsworth: Penguin, 1978.
- Graves, Robert. The Greek Myths. 2 vols. 1955. Rev. ed. 1958. Rev. ed. 1960. Introduction by Kenneth McLeish. Illustrations by Grahame Baker. 1996. London: The Folio Society, 2000.
- Graves, Robert. Steps: Stories; Talks; Essays; Poems; Studies in History. London: Cassell & Company Ltd., 1958.
- Graves, Robert, & Raphael Patai. Hebrew Myths: The Book of Genesis. 1964. An Arena book. London: Arrow Books Limited, 1989.
- Graves, Robert. Mammon and the Black Goddess. London: Cassell & Company Ltd., 1965.
- Graves, Robert. The Crane Bag and Other Disputed Subjects. 1969. London: Cassell & Company Ltd., 1970.
- Graves, Robert. Difficult Questions, Easy Answers. London: Cassell & Company Ltd., 1972.
- Graves, Robert. Collected Writings on Poetry. Ed. Paul O'Prey. Robert Graves Programme. Ed. Patrick J. M. Quinn. Manchester: Carcanet Press Limited / Paris: Alyscamps Press, 1995.
- Graves, Robert. Some Speculations on Literature, History and Religion. Ed. Patrick Quinn. Robert Graves Programme. Ed. Patrick J. M. Quinn. Manchester: Carcanet Press Limited, 2000.
- Graves, Robert, & Laura Riding. Essays From 'Epilogue' 1935-1937. Ed. Mark Jacobs. Manchester: Carcanet Press Limited, 2001.
- Apuleius, Lucius. The Transformations of Lucius, Otherwise Known as The Golden Ass. Trans. Robert Graves. Penguin Classics. 1950. Harmondsworth: Penguin, 1950.
- Apuleius, Lucius. The Transformations of Lucius, Otherwise Known as The Golden Ass. Trans. Robert Graves. 1950. Rev. Michael Grant. Penguin Classics. Harmondsworth: Penguin, 1990.
- Alarcón, Pedro Antonio de. The Infant with the Globe. Trans. Robert Graves. Trianon Press Limited. London: Faber, 1955.
- Galvan, Manuel de Jesus. The Cross and the Sword. 1882. Trans. Robert Graves. Foreword by Max Henríquez Ureña. London: Victor Gollancz Ltd., 1956.
- Sand, George. Winter in Majorca. 1855. Trans. Robert Graves. With José Quadrado's Refutation of George Sand. Mallorca: Valldemosa Edition, 1956.
- Lucan. Pharsalia: Dramatic Incidents of the Civil Wars. Trans. Robert Graves. Penguin Classics. Harmondsworth: Penguin, 1956.
- Suetonius Tranquillus, Gaius. The Twelve Caesars. Trans. Robert Graves. 1957. Penguin Classics. Harmondsworth: Penguin, 1962.
- Suetonius Tranquillus, Gaius. The Twelve Caesars: An Illustrated Edition. Trans. Robert Graves. 1957. Rev. Michael Grant. Ed. Sabine McCormack. 1979. Harmondsworth: Penguin, 1982.
- Graves, Robert, trans. The Anger of Achilles: Homer’s Iliad. London: Cassell, 1960.
- Graves, Robert, & Omar Ali-Shah, trans. The Rubaiyyat of Omar Khayaam: A New Translation with Critical Commentaries. 1967. Harmondsworth: Penguin, 1972.
- Graves, Robert. The Song of Songs: Text and Commentary. Illustrated by Hans Erni. New York: Clarkson N. Potter, Inc., Publisher, 1973.
- Richards, Frank. Old Soldiers Never Die. 1933. Uckfield, East Sussex: The Naval & Military Press, Ltd., 2009.
- Richards, Frank. Old Soldier Sahib. Introduction by Robert Graves. 1936. Uckfield, East Sussex: The Naval & Military Press, Ltd., 2009.
- Seymour-Smith, Martin. Robert Graves: His Life and Work. 1982. Abacus. London: Sphere Books Ltd., 1983.
- Graves, Robert. In Broken Images: Selected Letters 1914-1946. Ed. Paul O'Prey. London: Hutchinson, 1982.
- Graves, Robert. Between Moon and Moon: Selected Letters 1946-1972. Ed. Paul O'Prey. London: Hutchinson, 1984.
- Graves, Richard Perceval. Robert Graves: The Assault Heroic, 1895-1926. London: George Weidenfeld and Nicolson Limited, 1986.
- Graves, Richard Perceval. Robert Graves: The Years with Laura, 1926-1940. Viking. New York: Penguin Books USA Inc., 1990.
- Graves, Richard Perceval. Robert Graves and the White Goddess, 1940-1985. 1995. Phoenix Giant. London: Orion Books Ltd., 1998.
- Seymour, Miranda. Robert Graves: Life on the Edge. 1995. Doubleday. London: Transworld Publishers Ltd., 1996.
I have the two remaining volumes of Complete Poems on order, but haven't received them yet. Volume I is certainly impressively scholarly (if a little overwhelming), though.
Fiction:
I think there are a few more children's books, and an early novel written in collaboration with Laura Riding - No Decency Left (1932), not to mention his "re-written" version of Dickens, The Real David Copperfield (1933), to collect, but otherwise I think that's all his published writing in this form.
Non-Fiction:
This is the hardest genre of Graves-iana to collect - he wrote so many books of essays and miscellaneous non-fiction, sometimes with different titles (and even different contents) for the UK and US editions. As you can see, I have been fairly assiduous, but there are still many gaps in my holdings.
Translations:
The only translation I'm aware of lacking is Georg Schwarz's Almost Forgotten Germany (1936). There may well be others I don't know about, though. There's a good deal of translation in some of the books on mythology.
Edited:
Graves is alleged to have done a good deal of editing work on both of these books of war memoirs by "Frank Richards" (born Francis Philip Woodruff).
Secondary:
Probably the best of these biographies is Miranda Seymour's - there's no getting over the completeness and detail of Richard Perceval Graves' rather family-centred version of his uncle's life, though. Martin Seymour-Smith's is well written but (I'm told) unreliable on details. Probably the letters give the best sense of the man himself.

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6 comments:
Good as usual. I have some of those books and read something of Graves in a biog of Laura Riding. Like many books I have to say I never finished that although it is good I just seem to drift off so to speak. I have those books (paper back) of the myths and Goodbye to All that in a battered Penguin. Leicester was very keen on that book, but I have never got further than page one, again not because it wasn't interesting, I liked it - partly I think I really didn't want to read about war.
I did read some time back most of the books by Pat Barker on Sassoon, Owen and the psychiatrist or psychologist Rivers. They are a great series.
I have a (Penguin - they are very easy to find) of Graves's translation of The Golden Ass - one can go through life not doing many things but to not read that is close to criminal...
Of course there were the I Claudius and the other thing on TV (a very good series). For those times the film 'Caligula' is very good if rather, well, you have to see it: complete with Richard Strauss's great and ominous music from his opera 'Romeo and Juliet'!
I just peered into at Baker's bio of Ryder 'In Extremis' and she sent so many letters to Len Lye at one stage (about a libretto she was doing for him for something) he had to neither receive or send anymore to her. Graves was just the chap to be with Ryder with his huge frame and his cape and so on!
But you might even do something about Laura Ryder also: some of her poems are great but others are abstract strange (which isn't a always a bad thing) - I think the best were those influenced by Stein - but I once read a couple really strange but interesting stories by her...
It was a good thing that such as Graves learned Greek and other languages in those English schools as it means they were able to tackle the Greek stories etc, albeit idiosyncratically in his case.
Have just read your 2014 “blog” on Graves. Why aren’t you more famous Jack? This was the most effective filleting of Gravesiana I have read. Only reservation…Not quite sure you are right re the poems, but it’s driving me back to re-read them. Best, Malcolm Southan
Very kind of you to say, Malcolm. To be honest, I think you're probably right about the poems. At the time, seven years ago, I was a bit overwhelmed by the sheer profusion of the Complete Poems trilogy, but since I wrote the above I've had a chance to read the standalone volume of Graves's War Poems (2016) - which includes a whole unpublished book, rejected at the time - and this has underlined for me just how very accomplished he was as a war poet, as well as the wry love poet we already knew.
I have a few complaints. Graves didn't spend his time indoors "typing" in Deià, he wrote by hand. Don't know why "typing" is here (instead of writing), much less why it's in italics. The context first suggests Graves lolled about in the tropical sun and then it suggests he spent all of his time "typing" and didn't get to see daylight at all. Both of these ideas are wide of the mark, as a glance at the biographies would prove.
Identifying Laura Riding as "Graves's principal model for the 'White Goddess' is a bit reductive. Riding was a powerful poet and Graves literary partner in several undertakings. Moreover, even though Riding ultimately demanded to be recognized as formulating theories that became the germ of The White Goddess, and critics have drawn connections between her and the TWG, Graves never acknowledged either claim--a claim far from the consensus among Graves scholars. So stating that Laura Riding is the model is misleading.
Referencing the tensions between Graves and Sassoon by emphasizing Graves's pleas for money--and in a derogatory way "rather tactless demands for money on Graves's part" is sensationalizing what I see as sad. The dissolution of a friendship between two poets who survived The Somme seems to ask for more sympathy or more philosophy. And yes, Sassoon's line "Why keep a Jewish friend unless you bleed him?" is memorable, but you are taking it out of context and even seem to be suggesting that this actually represents Sassoon's objective analysis of what Graves was doing. Truth be told, Graves was in dire straits and turning to everyone for help. Sassoon came from a very wealthy family. Graves was blunt, of course, which was a trait that elsewhere Sassoon claimed to find endearing. Seizing on Sassoon's diary entry to characterize Graves as a tactless, antisemitic, user, is too harsh andone-sided. The fact is, Sassoon was highly critical of Graves, because of his marriage to Nancy Nicholson and because of Graves's decision to write for money. There are two sides to this story, and by suppressing one side, you are sacrificing honesty and compassion for sensation. Finally, my last quibble involves your characterization of the two versions of Good-Bye to All: "The awkward truth is that neither version is entirely satisfactory on its own." It's not an "awkward truth," sir, it's an awkward opinion. Better to say neither version is entirely complete. Many readers and some scholars have found both versions more than satisfactory. Some, indeed, have even found the 1929 version to be a masterpiece.
I understand that latitude is permitted in blogs: one can be a bit unprepared, or assert one's opinion as if it were gospel, or lean toward sensationalistic descriptions even if it means bending the truth. So perhaps my complaint is more generally with the blogosphere than with your essay and, as someone who advocates that readers should be more aware of Robert Graves, I suppose I should relax and accentuate the positive. You seem to like Graves's writing and are prepared to tolerate his many perceived authorial and moral shortcomings. Moreover, you are one of the few people alive who claim to have read The Nazarene Gospel Restored, which demands more respect than I am perhaps allowing you here.
I am not Jack but this interests me. However I haven't read much of Graves's poetry. However, it is a pity you are as anonymous as we should all keep a "dialogue" going on these matters. It is always hard to sort these biographical histories out. Sometimes though (not saying Jack does this) but sometimes (as long as it is not troubling such, indeed, two men surviving the Somme is); sometimes I have gone for a biography (of a writer of philosopher) as it suits what I want to hear. All writing is fiction: biographies are notorious for being controversy generators.... My Pfennig's worth....
Well, first of all, you're absolutely right about the "typing" - I must have been misled by that famous photo of the well-used portable typewriter in Graves's house at Deyà, Majorca. He wrote longhand and had it typed up for him subsequently, and he certainly believed - like a good many poets - that writing things out by hand was an essential part of the creative process. Mea culpa.
My casual comment about Laura Riding serving as the "principal model" for the White Goddess is, indeed, far from being the whole story. But, then, is there anything in what I've said there that implies otherwise? If I went into Laura Riding's life and work in any depth at that point it would threaten to submerge the whole piece. That's a story which can't really be told in summary. To be honest, I think I agree with Richard's comment, above, that it's a pity to write anonymously if you're going to be quite so picky.
Where you *are*, I fear, incorrect is in the comments about Sassoon. You say that: "Seizing on Sassoon's diary entry to characterize Graves as a tactless, antisemitic, user, is too harsh and one-sided." If it *had* been a diary entry, that description might well be justified. But (of course) it was not. The line comes from a verse letter sent by Sassoon to Graves, and is the *former*'s characterisation of the relationship, not mine. Am I quoting it "out of context"? Certainly it's not for me to judge the falling-out of two veteran soldiers. But then it's not for you, either. Sassoon was very bitter about Graves for many years. That's a well-documented fact. He and Edmund Blunden even annotated a copy of *Good-bye to All That* with scornful comments, many of them reprinted in Richard Perceval Graves's excellent edition of the 1929 original. As a great admirer of both writers, this saddens me greatly - as it clearly does you - but denying the facts doesn't really help either party.
I would have thought it was pretty obvious from my blogpost - as well as all the many other posts about Graves on this blog - that I'm a huge fan of his work. So, it would appear, are you. But I tend to examine my enthusiasms rather than simply surrendering to them. And I stand by my comment about *Good-bye to All That* (to be honest, I don't quite understand your objection to it). It *is* unsatisfactory to have a book which has to be read in two versions. I agree that the 1929 text is the more vivid, but the 1957 contains vital revisions and new information. In other words, you need both. Richard Perceval Graves' 1995 edition goes some way to supply this, but even there he can't supply everything that was in the latest text. He makes a good attempt, though. Whether or not it's a "masterpiece" is beside the point. Personally, I think it is.
There are many different approaches to the blogosphere. Some blogs are for committed specialists to swap information among themselves. This is certainly a great way of using them. Mine is, however, intended for the (so-called "general reader". It contains what once might have been referred to as "literary journalism", designed to give my opinions on authors and other bookish matters. I'm happy to correct errors when they're pointed out, but much of your comment seems motivated more by an objection to my "sensationalistic descriptions" - the *tone* of my remarks, in other words.
I remember a wise old professor who once told a group of us that literary criticism is a little like *Gulliver's Travels*. You start off in Lilliput, looking down from on high at authors and their eras and trying to sum them up in as fair and unbiassed a way as you can. But then you switch to Brobdingnag, and employ the completely different perspective of a pygmy among giants.
Graves is a giant. You seem to take a Brobdingnagian view of him (and so do I, most of the time). Much of your comment on my post stems from a distrust of the Lilliputian perspective, I suspect. But that, too, is a necessary stance for criticism - especially when it's meant to be summary rather than minutely technical in nature.
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