Showing posts with label obituary. Show all posts
Showing posts with label obituary. Show all posts

Wednesday, October 11, 2023

Memories of Don Smith


D. I. B. Smith (1934-2023)
[photograph courtesy of Caitlin Smith]

i. m. Emeritus Professor Donal Ian Brice Smith
(4/2/1934 - 27/9/2023)


I don't think I ever had a conversation with Don Smith which didn't end in some interesting book recommendation - or else a new insight into a long-beloved classic. He was the first Academic I ever met who seemed to be driven solely by a love for books and reading in general. "Great stuff!" he would intone, as he leafed through another shabby-looking prize from the second-hand bookshops downtown.

I was somewhat in awe of him to start with - and for quite a long time after that. I had, for some unaccountable reason, decided in the early 1980s that it was up to me to reclaim from oblivion the long-neglected novels of British Poet Laureate John Masefield by composing a Master's thesis about them.


Constance Babington Smith: John Masefield: A Life (1978)


"How many novels did he actually write?" asked one of the prospective supervisors I approached. "Twenty-three," I replied. "And how many of them have you read?" "Twenty-three." [1] Strangely enough, that particular prospect discovered he had urgent duties elsewhere and could not accept a new research student at that time ...

Don - or 'Professor Smith', as I continued to address him till long after I had ceased to be his student - actually was far too busy to take me on. He was, after all, Head of Department at the time. But when I went to see him about it, he said that he would do it - but only if nobody else was able to.

Which left me with the somewhat invidious task of visiting each and every one of the Academics in the of the University of Auckland English Department who might conceivably be interested in such a project. It was certainly very educational to sample the variety of excuses they came up with - from the straight 'no' to the 'maybe some other time' to the 'perhaps if you changed it to ... [something quite unrelated].'

But no, I was - no doubt foolishly - quite determined, so I eventually made my way back to Don's door, and to his somewhat reluctant oversight ...

How did he approach it? He sat there and talked, while I took notes. His talk ranged over many subjects, some relevant and others perhaps not quite so relevant. At the time I recall he was reading the work of Anglo-Irish writer Shane Leslie - who was pretty obscure even by my standards - as well as working on some of the lesser known novels of Ezra Pound's early mentor (and Joseph Conrad's collaborator) Ford Madox Ford.

Was any of this relevant to Masefield? Well, in a curious way, as it turned out, yes. The interface between the 'commercial' and the 'literary' faces of Edwardian literature fitted rather nicely into studying the work of a poet, Masefield, who was publishing at the same time as Eliot and Pound, but inhabited a world almost literally invisible to their admirers. Ford was a good example of the same phenomenon, though in a rather different way.


Andrew Marvell: The Rehearsal Transpros'd, ed. D. I. B. Smith (1971)


Don's original field of specialisation had been seventeenth century literature. He'd published an edition of Andrew Marvell's satirical prose work The Rehearsal Transpros'd in the Oxford English Texts series. When I asked him about this, he said, "Well, it got me this job." What he seemed to like most, though, was exploring the more offbeat byways of Anglo-Irish literature - not to mention New Zealand writers such as Robin Hyde: far less well-known then than she is now.


Robin Hyde: Passport to Hell, ed. D. I. B. Smith (1986)


The more I heard from him, the more I liked it. I'd been trained in my undergraduate career to admire such extreme Modernists as Eliot and Joyce, and this (still) makes perfect sense to me. On the other hand, there was a rich penumbra of weirdos such as Chesterton and de la Mare, whom I liked just as much, but whom I'd been encouraged to dismiss as dead ends in the grand obstacle race of literary innovation.

Don wasn't interested in any of that survival-of-the-fittest nonsense. Is it enjoyable? was his central criterion for a book. Yes, he was certainly interested in the finesse and skill behind particular pieces of writing, but he still seemed to steer instinctively towards the anecdotal and - above all - towards enthusiasm in his approach to what he read.

I resolved to do likewise, and so, much later, when I in my turn became an English Academic with my own graduate students, I tried to give them as much as possible of the same formula: Read the book, not - till much later - the secondary literature about it. If you don't like it, acknowledge the fact - but then try and work out why.

It is, I suppose, an approach designed to produce readers, not students or teachers of literature. But then, if you don't actually get a kick out of the stuff you read, you probably shouldn't be teaching the subject in the first place.

That was the first - and probably the most important - of my many, many debts to Don.

Most prominent among the others would have to be the innumerable letters of recommendation he wrote for me while I was undertaking my long and arduous quest for an actual job in the fields of Academia. Once again, I've tried to follow his good example when asked to do the same thing for my ex-students.

But then I could never have got that far in the first place if I hadn't got a scholarship to study overseas, and I doubt very much that that would have happened without his powerful advocacy.


Roger Elwood, ed.: The Many Worlds of Andre Norton (1974)


What else? Well, after he retired, I visited him a few times at his wonderful house in Mission Bay, and admired the cupboard where he kept his very extensive collection of Sci-fi and Fantasy literature. That was another subject on which we saw eye to eye (for the most part). He had what seemed to me an inexplicable enthusiasm for Andre Norton, whereas I was more attuned to Philip K. Dick and Samuel R. Delany, but there was generally some new fantasy epic he'd been reading which I ended up making a mental note to get hold of as soon as I could.

He made all them sound like so much fun - though he did stray into heresy on one occasion, I recall, by claiming to prefer Tad Williams to J. R. R. Tolkien as a writer of epic fantasy. This was, as I solemnly informed him, a little like preferring some latter-day SF luminary to Arthur C. Clarke - if they're able to see further, it's because they're standing on giant shoulders ...


Kendrick Smithyman: Campana to Montale, ed. Jack Ross (2004)


He knew I was passionate about the poetry of our Auckland University colleague Kendrick Smithyman, and since Don and I could both read Italian, he lent me the typescript of some versions the monolingual Smithyman had concocted of certain modern Italian poets through the medium of other people's translations.

That, too, was a precious gift. I ended up editing and publishing the entire collection, which still seems to me - like Pound's Cathay - to prove that the end result of a process of translation counts for far more than the way that a writer actually gets there. Kendrick's versions from Italian have a supple ease and charm which far better linguists than he have tried in vain to achieve - and, in the process, he found in the poet Salvatore Quasimodo a virtual alter ego.


Kendrick Smithyman: Campana to Montale, ed. Jack Ross & Marco Sonzogni (2010)


I was also presumptuous enough to ask Don to launch my first novel, Nights with Giordano Bruno, which he did with great style and panache. I remember he compared it to Mario Praz's famous critical book The Romantic Agony, which is, I'm sure, far more credit than it deserved. It was characteristic of his ready wit as well as his charity, though.

Another of my favourite memories of him is the time he hunted me down at my student lodgings in Edinburgh and took me out to dinner at a local tratteria called Pinocchio's. It was wonderful to see him en famille, with his wife Jill and daughter Caitlin, and - as I recall - a great deal of red wine was drunk and pasta eaten in the course of the evening!

As Stephen King's writer hero says of his friend in the movie Stand by Me: "I'll miss him forever." That's certainly true. I'd love to have another of those wonderful, unexpected conversations where Don Smith turned all my prejudices and presuppositions on their heads. But in another, realer sense he's not dead - he'll never be dead.

I can hear him now saying "Great stuff" and reading out another passage from his latest essay, where he juxtaposes a quote from Ford Madox Ford about his latest drivelly historical romance The Young Lovell with another precisely contemporary set of Fordian instructions on how to be absolutely modern to his errant young protégé Ezra Pound ... [2]




Notes:


2. Arthur Rimbaud, "Il faut être absolument moderne." Une Saison en enfer (1873). Pound said of Ford Madox Ford in his 1939 obituary:
[H]e felt the errors of contemporary style to the point of rolling (physically, and if you look at it as mere snob, ridiculously) on the floor of his temporary quarters in Giessen when my third volume displayed me trapped, fly-papered, gummed and strapped down in a jejune provincial effort to learn ... the stilted language that then passed for 'good English' ...
And that roll saved me two years, perhaps more. It sent me back to my own proper effort, namely, toward using the living tongue ... though none of us has found a more natural language than Ford did.


Don, Caitlin, & Jill Smith
[photograph courtesy of Caitlin Smith]




Sunday, May 14, 2023

Amis & Son


Sunday, 21st May, 2023 - I'm updating this post to record the news of the death from cancer of Martin Amis on Friday the 19th of May, at his Florida home. It seems strange to have been writing about his work just a week before that - strange, too, that it should have coincided with the Cannes debut of Jonathan Glazer's The Zone of Interest, based on Amis's 2014 novel. It was received with a six-minute standing ovation. Requiescat in Pace.

Amis fils & Amis père


The other day I was in a bookshop where they were having a "five for five dollars" sale. Even at that price, I found few items to tempt me. An old copy of Spycatcher - yes, I missed reading that at the time, back in the paranoid '80s, but my friend John Fenton assures me it's a valuable piece of social history - that went in the bag. What else? An anthology of writings about the Battle of Britain, edited by some flying ace or other; a companion volume about pioneer aviators; Andrew Motion's Selected Poems; and - Amis & Son: Two Literary Generations ...

You'd think the latter would have been a shoo-in, given my longstanding obsession with the life and works of Kingsley Amis and (to a somewhat lesser extent) his son and literary rival Martin. Not so. I already own no fewer than three full-length biographies of "Kingers", as his friends used to call him, and - to be honest - I felt a bit reluctant to add to their number.

Still: five for five dollars - not to mention the fact that there isn't, so far as I'm aware, much biographical writing as yet about Martin - or 'Amis fils', as he's sometimes called. So I duly bought it and stowed it away on the shelf devoted to just such Amisiana. Until, the other day, feeling in dire need of a bit of a laugh - and I do find both Amises irresistibly amusing at times - I picked it up and started to read it.


London Remembers: Sir Kingsley Amis


It begins, sensibly enough, with a visit to "Kingsley Amis's earliest childhood home - 16 Buckingham Gardens, Norbury, SW16." The author is quick to refute "the green plaque stating that Sir Kingsley Amis was born here" placed there by the local council. Apparently he wasn't. As for the house itself, and its immediate ambience:
Even if Buckingham Gardens hasn't gone down in the world much since the Amises lived here, it hasn't come up; only one of the houses shows the slightest hint of ownerly gentrification, and it looks out of place.
So far so good. Class insecurity is a major theme of Neil Powell's book as a whole, so this seems a good place to start. But then:
The air carries a stong and unmistakable whiff of curry, which Kingsley mightn't in one sense have minded (it was among the few foods he actually enjoyed), though in another he'd have minded quite a bit: he was no racist, but he strongly disliked the quality of English life being mucked about. [p.1]
I had to read this sentence a couple of times before its implications really began to sink in. I mean, I have lived in the UK. I do know the terrain - to some extent, at least. What Powell appeared to me to be saying was that the area has been taken over by foreigners - the kind who eat a good deal of curry. Not only that, there is - is there not? - an implication that their very presence here constitutes some kind of affront to the "quality of English life."


Carcanet Press: Neil Powell


Perhaps I'm overreading it, I thought, resisting my first impulse to throw the book across the room. Surely he can't mean that. In any case, I decided to give him the benefit of the doubt and persevere.

Certainly Neil Powell knows a good story when he hears one. I'm not sure that I came across many in his pages which I hadn't already encountered in Amis's Memoirs or one of the other biographies, but they were certainly just as amusing when retold here. He also quotes lengthy passages from Amis's Letters, which reminded me of just how rib-ticklingly funny that book can be - one of the few such volumes that it actually is dangerous to be caught reading in a public place. People are liable to think that you're throwing a fit.

But is this enough? Is this really a necessary book? As D. J. Taylor puts it in his own notice of Amis and Son in the Literary Review:
On the shelf beside me as I write this are, in chronological order, Kingsley’s Memoirs (1991), Eric Jacobs’s Kingsley Amis: A Biography (1995), Martin’s Experience (2000), Zachary Leader’s edition of The Letters of Kingsley Amis (2000), Richard Bradford’s Lucky Him (2001), advertised as a ‘biography’ but in fact an exceptionally astute critical survey, and Leader’s jumbo-sized The Life of Kingsley Amis (2006). They are all interesting books, up to a point, but there are an awful lot of them and the message emerging from their three or four thousand collective pages is generally the same.
I too own all of these books, and am forced - somewhat reluctantly - to concur with Taylor's opinion that "one can think of novelists twice as good who have attracted half the volume of scholarly, or not so scholarly, exegesis."


Martin Amis: Inside Story (2020)


Where there's already so much competition, justifying the appearance of yet another tome on much the same subject surely requires a bit of special pleading. So, unless Powell has an exceptionally compelling new reading of Amis père to offer (and I'm not sure that he does), his book really stands or falls on the value of any new material he can provide on Amis fils.

It's true that Powell evinces a number of opinions which are (to put it mildly) not in line with my own. He seems to take it for granted that any time spent reading Science Fiction is time wasted, and that Kingsley Amis's pioneering efforts as a critic and anthologist of the field ought therefore to be written off as simple self-indulgence. Powell even claims that Kingsley (he refers to him by his first name throughout, so I don't see why I shouldn't) would have been much better off expanding his (failed) BLitt thesis on the popular audience for Victorian poetry into a monograph than dignifying such disposable 'genre fiction' with his attention. And yet, to me, that's one of the strongest arguments in favour of Kingsley's critical acumen.

But just because I happen to disagree with many of Powell's views is no reason to dismiss them out of hand. At this point I thought it might be a good idea to see what some other readers thought of his book. There are a couple of puffs on the cover: "A delight: witty, clever and astute" - Observer, plus a blurb description of it as a "witty, opinionated and thoroughly readable critical biography"; D. J. Taylor, too, refers to it "a thoughtfully written study," in the passage from his review quoted above.


The Wheeler Centre: Peter Craven


There was at least one writer who felt much as I did about it, however. You can, if you wish, read it for yourself on the website of the Melbourne Age for July 22, 2008, but here are a couple of quotes from Australian critic Peter Craven's review:
Amis and Son, Neil Powell's would-be critical biography of Kingsley Amis, author of Lucky Jim and Take a Girl Like You, and Martin Amis, his son, author of The Rachel Papers and London Fields, is ... a silly and sickening book that is liable to be taken more seriously than it deserves.
That's going straight for the jugular! But why exactly does he think so?
It is essentially a critical book, buttressed by biographical summary that tends to be used as an increasingly impertinent crutch for the evaluative judgements that keep jumping about between the lives and the works of Amis father and son.

It is less obviously debilitating in the case of Kingsley because the burden of Powell's book is that Smarty isn't half the writer that his Dad was. Smarty Anus, you'll recall, is Private Eye's empathic nickname for Martin Amis, a homage of an epithet if ever there was one.
Certainly this is a problem if, as I've argued above, the book's raison d'être really has to be providing a substantive reading of Martin's work, rather than rehashing the far more readily available material on Kingsley. But Powell, according to Peter Craven, is:
the kind of narrow and overweeningly snooty critic who is constantly confusing the limitations of human beings with the faults of their work. It is not a vice confined to the British, but one they exhibit with a peculiar intensity and obnoxiousness.

At its worst this kind of writing is constantly sliding into what sounds like social condescension. It is especially dominant where criticism and biography meet, as in the truly appalling studies of Anthony Burgess and Laurence Olivier by Roger Lewis.


I, too, have read Roger Lewis's rambling and vituperative 'critical biography' of Anthony Burgess, so I do see the point Craven is making here. I haven't read Lewis on the subject of Olivier, but I have a copy of his apparently equally venomous Life and Death of Peter Sellers lying around somewhere. Is Powell's book really as bad as that?

Certainly he says some odd things at times. While describing a seduction scene in Martin's The Rachel Papers (1973), which takes place to the accompaniment of the Beatles' Sergeant Pepper's Lonely Hearts Club Band, regarded by the hero as "a safe choice, since to be against the Beatles (late-middle period) is to be against life", Powell calls 'When I'm Sixty-Four' and 'Lovely Rita':
the two songs which despite their jaunty surfaces most clearly reveal the Beatles' underlying callousness and contempt for other people. [pp.297-98]
Really? Do they? Maybe I've been getting them wrong all these years ... It does seem a rather extreme view, though it certainly matches up with an earlier diatribe by Powell about "a truly shocking moment in Experience", where Martin mentions:


J. S. Bach: Complete Cello Suites (1-6)
Bach's 'Concerto for Cello', in four words conveying ignorance of musical history, the composer's oeuvre and the difference between a concerto and a sonata ... His father had been able to take a scurrilously disrespectful view of received culture precisely because he knew a good bit about it from quite early on. Martin didn't have that luxury; hence, despite his plumage, he had to become a successfully diligent gnome. [pp.288-89]
Yes, Martin (or his editor) should have picked up on that one. But then, Powell's own book is not exactly error-free. In any case, isn't all this a bit of an overreaction? Does it really justify describing him a "successfully diligent gnome"? Perhaps it's an English thing. As my Birmingham-born friend Martin Frost once remarked to me, "It's not that you're outside the class system, Jack, it's that you're beneath it."

The nuances of class are clearly something that fascinates Powell, though one can't help feeling that he's not talking solely about the two Amises when he mounts his own "unfashionable defence" of these curious caste divides:
at least since the mid-eighteenth century, class in England has been extraordinarily fluid, enabling immense social leaps to be made within individual lifetimes ... [and] this fluidity coincides with the rise of the English novel, which has made class - in its nuances, misunderstandings and unexpected transitions - one of its major themes. [p.315]
"For the novelist it remains an indispensable resource". Powell's defence of class seems to boil down to two not easily reconcilable statements: 1/ that it doesn't really work; 2/ that it's great to write about. Sometimes it's nice to be a New Zealander and not feel that you have to worry about that kind of thing.

I'm not myself a great fan of Martin Amis, whose works I stopped collecting some years back, but I have read a number of them, including Money and London Fields, and would certainly agree with Peter Craven's praise of his attempts to reclaim:
the vast underworld of London street talk and the way contemporary Britain actually talked in his mature fiction. Powell's culpable stupidity about this goes most of the way towards disqualifying him from saying anything of critical interest about Martin.
In short, then:
Amis and Son is a book by a critic of some intelligence who nonetheless constantly dissipates his insights because his swaggering irritation at one of his two subjects makes him blindingly daft.
Craven concedes that "it's easy enough to be irritated by Martin Amis."
You can even go halfway with Tibor Fischer's assessment, quoted by Powell, of Martin Amis as "an atrocity-chaser ... constantly on the prowl for gravitas enlargement offers (the Holocaust, serial killers, 9/11, the Gulag, the Beslan siege) as if writing about really bad things will make him a really great novelist", and still acknowledge that, on a good day, he is one of the most significant writers in Britain to have produced fiction in the past 30 years.

Martin Amis: Koba the Dread (2002)


That seems like a pretty judicious distinction to me. One of the books I have read by Martin Amis is his account of Stalin, Koba the Dread. It inspired me to verse, in fact:
Koba the Dread: Laughter and the Twenty Million

Stalin’s a bad man I know
Martin Amis told me so
It's not exactly a revelation
but thank you for the Information

[26/9/2002]
There was definitely a smug, de haut en bas tone about Amis's book which I found irksome. But then, I almost died laughing at the antics of the two warring novelists in his 1995 novel The Information - you'll have noticed the clever way I've inserted a reference to it in the clerihew above - not to mention the appalling works they're respectively responsible for:
'What's your novel called?'
'Untitled'
'Don't you have a title for it yet?'
'No, it's called "Untitled" ...'
That's the book by thwarted novelist Richard Tull which causes anyone who tries to read it to start bleeding from the eyes, a condition rapidly escalating into a brain hemorrhage if they're foolish enough to persist. His rival Gwyn Barry's successful utopia Amelior sounds equally emetic, though fortunately far less lethal.

I'm still not sure what The Information is actually about, but it's hard to care when the incidental details are as good as that. Martin Amis is certainly not a jolly or a likeable writer, but the sheer power and variety of his prose makes up for an awful lot.

One of the oddest passages in Powell's book is the one where he unpacks "one of the riddling paradoxes of fiction":
an unambitious form is one crucial respect more ambitious than an ambitious one: it is, in this sense, easier to write Ulysses than a novel by, say, Barbara Pym or C. P. Snow. Ulysses competes only with itself, with its own ambition; a novel by Pym or Snow competes with thousand others about middle-class women, strange clergymen and mendacious academics. [pp.311-12]
Carried to an extreme, wouldn't this doctrine militate against Powell's earlier dismissal of Ian Fleming, one of Kingsley's favourite writers, as "a bad and pernicious author" [p.148]? I mean, isn't it harder to compete with a thousand other thrillers replete with "pornographic sadism" than to write, say, Tom Jones or Tristram Shandy? Fielding and Sterne were only competing with themselves, after all, whereas Fleming has Raymond Chandler, Dashiell Hammett and Mickey Spillane all barking at his heels ...

As one progresses through his book and encounters more and more opinions of this nature, it becomes increasingly difficult to take Powell seriously as a critic. There's an ad hominem tone to his judgements which seems driven by personal animus rather than disinterested analysis. Peter Craven, too, has difficulties with this aspect of his writing:
You're free to think that none of Martin Amis has as sure a place in the canon as Lucky Jim, but that's not the point. Powell is an interesting guide to the ins and outs of Kingsley's fiction, and some of his tips about particular books may be worth following. On the other hand he is an admirer of Martin's Time's Arrow - the Holocaust novel that runs backward - so you have to wonder.
Yes, I'm with him there. For me, Time's Arrow is a one-page idea dragged out to the length of an entire novel. On the other hand, I was intrigued to see that (unlike Richard Bradford in Lucky Him), Powell likes Kingsley's late novel The Folks Who Live on the Hill as much as I do. And, while I remain unconvinced by his defence of the quasi-psychotic excesses of Stanley and the Women, it is interesting to hear his views on the matter.

Craven concludes his review as follows:
The word about this book is that it's the bollocking Martin Amis always had coming to him. It isn't, it's a spiteful and thoughtless book by a vain and shallow critic who is defeated by everything in his hugely talented contemporary that shows up his own narrowness and pettiness and lack of feeling for the rough and ready words and grand ambitions that might encompass a world or transform it in fiction.
In short: "What defeats him is human beings and the way the details of a life might illuminate a writer's work." Strong words here from Craven; it's hard to dissent, though, if you've actually made your way to the end of Powell's book. It's a pity, above all, that he makes such great play with the (alleged) carelessness and ignorance of the two Amises when you consider his own vulnerability on this score.

To take one example. He concludes, on p.371, a long denunciation of Martin's use of Americanisms in his prose by saying that a writer's job is "To purify the dialect of the tribe" - a dictum he attributes to T. S. Eliot. While it's true that this phrase does indeed appear in Part II of "Little Gidding" (1942), the last of Eliot's Four Quartets, it is actually (of course), an Englishing of Mallarmé's famous line "Donner un sens plus pur aux mots de la tribu" from the sonnet "Le tombeau d'Edgar Poe".

There's a double irony in this. Powell's view of Amis's prose style as "veering away as far as possible from an English conversational voice towards a demotic statelessness" would surely apply far better to the work of the deracinated American T. S. Eliot than to unrepentant Londoner Martin Amis? And, given that Mallarmé attributed this purification of the "tribal" dialect to another American, Edgar Allan Poe, its use as a guarantor of "Englishness" here seems particularly off the mark.


Edgar Allan Poe (1809-1849)


But if Powell's book is so bad, why waste so much time and energy on it? It's a fair question. I suppose that the answer might be because I wanted it to be better than it is. For my all my reading and rereading of their works, I still find even the elder Amis - let alone the younger - something of a mystery.

Since I know so much less about Martin than Kingsley, it was really this aspect of Powell's book that I hoped to learn most from. I've read almost all of the novels he analyses - the early to mid-career ones - and was surprised to find how little validity I found in his assessments of them. The two - to me - most doctrinaire and mechanical, Success and Time's Arrow, he rates most highly, whereas the verbal pyrotechnics of Money, London Fields, and The Information seem to leave him cold.

Mind you, there's no accounting for tastes, and there's no moral obligation on him to like these books. I'm not sure that I exactly like them myself. But I do agree with Peter Craven about the immense gravitas of the task Martin Amis set himself in attempting to reclaim "the vast underworld of London street talk and the way contemporary Britain actually talked in his mature fiction."

Like Dickens, Martin Amis has trouble with plots: there's always either too much or too little of it in all of his novels. But that's not really why I read them. Not purely for pleasure, but for "news that stays news" (to employ another Americanism) - in this case, news about the language.

In any case, Powell's book is clearly not the one I need. Maybe, in fact, I don't need any more critical books or biographical accounts of either author, but simply to reimmerse myself in their works. If so, I should probably tender some thanks to Neil Powell for reminding me of that.







Kingsley Amis (1989)

Sir Kingsley William Amis
(1922-1995)

Books I own are marked in bold:

    Poetry:

  1. Bright November (1947)
    • [Bright November: Poems. London: the Fortune Press, n.d. (1947?)]
  2. A Frame of Mind (1953)
  3. Poems. Fantasy Portraits (1954)
  4. A Case of Samples: Poems 1946–1956 (1956)
  5. The Evans County (1962)
  6. A Look Round the Estate: Poems, 1957–1967 (1968)
  7. Collected Poems 1944–78 (1979)
    • Collected Poems 1944-1979. London: Hutchinson & Co. (Publishers) Ltd., 1979.

  8. Novels:

  9. The Legacy (1948) [unpublished]
  10. Lucky Jim (1954)
    • Lucky Jim: A Novel. 1953. London: Victor Gollancz, Ltd., 1954.
  11. That Uncertain Feeling (1955)
    • That Uncertain Feeling. 1955. Four Square Books Ltd. London: New English Library Ltd. / Sydney. Horwitz Publications Inc. Pty. Ltd., 1962.
  12. I Like It Here (1958)
    • I Like it Here. 1958. Penguin Book 2884. Harmondsworth: Penguin, 1968.
  13. Take a Girl Like You (1960)
    • Take A Girl Like You. 1960. Harmondsworth: Penguin, 1976.
  14. One Fat Englishman (1963)
    • One Fat Englishman. 1963. Penguin Book 2417. Harmondsworth: Penguin, 1966.
  15. [with Robert Conquest] The Egyptologists (1965)
    • [with Robert Conquest. The Egyptologists. 1965. Panther Books Ltd. Frogmore, St Albans, Herts: Granada Publishing Limited, 1975.
  16. The Anti-Death League (1966)
    • The Anti-Death League. 1966. Penguin Book 2803. Harmondsworth: Penguin, 1968.
  17. [as Robert Markham] Colonel Sun: A James Bond Adventure (1968)
    • [as ‘Robert Markham’]. Colonel Sun: A James Bond Adventure. 1968. London: Pan Books Ltd., n.d.
  18. I Want It Now (1968)
    • I Want It Now. 1968. London: Panther Books, 1969.
  19. The Green Man (1969)
    • The Green Man. London: Jonathan Cape Ltd., 1969.
  20. Girl, 20 (1971)
    • Girl, 20. 1971. London: The Book Club, by arrangement with Jonathan Cape Ltd., 1972.
  21. The Riverside Villas Murder (1973)
    • The Riverside Villas Murder. 1973. London: Book Club Associates / Jonathan Cape Ltd., 1974.
  22. Ending Up (1974)
    • Ending Up. London: Jonathan Cape Ltd., 1974.
  23. The Crime of the Century (1975)
    • The Crime Of The Century. 1975. Introduction by the Author. Everyman Paperbacks: Mastercrime. London: J. M. Dent & Sons Ltd., 1987.
  24. The Alteration (1976)
    • The Alteration. 1976. Triad / Panther Books. Frogmore, St Albans, Herts: Triad Paperbacks Ltd, 1978.
  25. Jake's Thing (1978)
    • Jake's Thing. 1978. Harmondsworth: Penguin, 1979.
  26. Russian Hide-and-Seek (1980)
    • Russian Hide-and-Seek: A Melodrama. 1980. Harmondsworth: Penguin, 1981.
  27. Stanley and the Women (1984)
    • Stanley and the Women. London: Hutchinson & Co. (Publishers) Ltd., 1984.
  28. The Old Devils (1986)
    • The Old Devils. 1986. Hutchinson. London: Century Hutchinson Ltd., 1986.
  29. Difficulties with Girls (1988)
    • Difficulties With Girls. 1988. Harmondsworth: Penguin, 1989.
  30. The Folks That Live on the Hill (1990)
    • The Folks That Live on the Hill. Hutchinson. London: Century Hutchinson Ltd, 1990.
  31. We Are All Guilty (1991)
    • We Are All Guilty. London: Reinhardt Books / Viking, 1991.
  32. The Russian Girl (1992)
    • The Russian Girl. 1992. Harmondsworth: Penguin, 1993.
  33. You Can't Do Both (1994)
    • You Can't Do Both. Hutchinson. London: Random House (UK) Ltd., 1994.
  34. The Biographer's Moustache (1995)
    • The Biographer's Moustache. 1995. Flamingo. London: HarperCollins Publishers, 1996.
  35. Black and White (c.1995) [unfinished]

  36. Short Stories:

  37. My Enemy's Enemy (1962)
    • My Enemy's Enemy. 1962. Harmondsworth: Penguin, 1965.
  38. Collected Short Stories (1980)
    • Collected Short Stories. 1980. Harmondsworth: Penguin, 1983.
  39. Mr Barrett's Secret and Other Stories (1991)
    • Mr Barrett's Secret and Other Stories. 1993. Harmondsworth: Penguin, 1994.
  40. Complete Stories (1980)
    • Complete Stories. Foreword by Rachel Cusk. Penguin Classics. London: Penguin, 2011.

  41. Non-fiction:

  42. Socialism and the Intellectuals. Fabian Society pamphlet (1957)
  43. New Maps of Hell: A Survey of Science Fiction (1960)
    • New Maps of Hell: A Survey of Science Fiction. 1960. London: Victor Gollancz Ltd, 1961.
    • New Maps of Hell: A Survey of Science Fiction. 1960. A Four Square Book. London: New English Library Limited., 1963.
  44. The James Bond Dossier (1965)
    • The James Bond Dossier. 1965. London: Pan Books Ltd., 1966.
  45. [as Lt.-Col William ('Bill') Tanner] 1965 The Book of Bond, or Every Man His Own 007 (1965)
  46. What Became of Jane Austen?, and Other Questions (1970)
    • What Became of Jane Austen?, and Other Questions. 1970. Panther Books Limited. London: Granada Publishing Limited, 1972.
  47. On Drink (1972)
    • On Drink. Pictures by Nicolas Bentley. 1972. Panther Books Ltd. Frogmore, St Albans, Herts: Granada Publishing Limited, 1974.
  48. Rudyard Kipling and His World (1974)
  49. Everyday Drinking (1983)
    • Every Day Drinking. Illustrated by Merrily Harpur. London: Hutchinson & Co. (Publishers) Ltd., 1983.
  50. How's Your Glass? (1984)
  51. The Amis Collection (1990)
    • The Amis Collection: Selected Non-Fiction, 1954-1990. Introduction by John McDermott. 1990. Harmondsworth: Penguin, 1991.
  52. Memoirs (1991)
    • Memoirs. Hutchinson. London: Random Century Group Ltd., 1991.
  53. The King's English: A Guide to Modern Usage (1997)
    • The King’s English: A Guide to Modern Usage. London: HarperCollins Publishers, 1997.
  54. Everyday Drinking: The Distilled Kingsley Amis. ['On Drink' (1972); 'Everyday Drinking' (1983); 'How's Your Glass?' (1984)]. Introduction by Christopher Hitchens (2008)

  55. Edited:

  56. [with Robert Conquest] Spectrum anthology series. 5 vols (1961-66)
    • Spectrum I: A Science Fiction Anthology. Ed. Kingsley Amis & Robert Conquest. 1961. London: Pan Books Ltd., 1964.
    • Spectrum II: A Second Science Fiction Anthology. Ed. Kingsley Amis & Robert Conquest. 1962. Pan Science Fiction. London: Pan Books Ltd., 1965.
    • Spectrum III: A Third Science Fiction Anthology. Ed. Kingsley Amis & Robert Conquest. London: Victor Gollancz, Ltd., 1963.
    • Spectrum IV: A Fourth Science Fiction Anthology. Ed. Kingsley Amis & Robert Conquest. 1965. Pan Science Fiction. London: Pan Books Ltd., 1967.
    • Spectrum V: A Fifth Science Fiction Anthology. Ed. Kingsley Amis & Robert Conquest. 1966. Pan Science Fiction. London: Pan Books Ltd., 1969.
  57. G. K. Chesterton. Selected Stories (1972)
    • G. K. Chesterton. Selected Stories. Ed. Kingsley Amis. London: Faber, 1972.
  58. The New Oxford Book of Light Verse (1978)
    • The New Oxford Book of Light Verse. Oxford: Oxford University Press, 1978.
  59. The Golden Age of Science Fiction (1981)
    • The Golden Age of Science Fiction. London: Hutchinson & Co. (Publishers) Ltd., 1981.
  60. The Amis Anthology: A Personal Choice of English Verse (1988)

  61. Letters:

  62. The Letters of Kingsley Amis. Ed. Zachary Leader (2000)
    • Leader, Zachary, ed. The Letters of Kingsley Amis. London: HarperCollins Publishers, 2000.
    • Leader, Zachary, ed. The Letters of Kingsley Amis. 2000. Rev. ed. London: HarperCollins Publishers, 2001.

  63. Secondary:

  64. Jacobs, Eric. Kingsley Amis: A Biography. Hodder & Stoughton. London: Hodder Headline PLC, 1995.
  65. Bradford, Richard. Lucky Him: The Life of Kingsley Amis. London: Peter Owen Publishers, 2001.
  66. Leader, Zachary. The Life of Kingsley Amis. 2006. Vintage Books. London: The Random House Group Limited, 2007.





Martin Amis

Martin Louis Amis
(1949-2023)

    Novels:

  1. The Rachel Papers (1973)
    • The Rachel Papers. 1973. Frogmore, St Albans, Herts: Granada Publishing Limited, 1976.
  2. Dead Babies (1975)
    • Dead Babies. 1975. Harmondsworth: Penguin, 1988.
  3. Success (1978)
    • Success. 1978. Harmondsworth: Penguin, 1988.
  4. Other People (1981)
    • Other People: A Mystery Story. 1981. Harmondsworth: Penguin, 1988.
  5. Money (1984)
    • Money: A Suicide Note. 1984. Harmondsworth: Penguin, 1986.
  6. London Fields (1989)
    • London Fields. London: Jonathan Cape Ltd., 1989.
  7. Time's Arrow: Or the Nature of the Offence (1991)
    • Time's Arrow, or The Nature of the Offence. 1991. Harmondsworth: Penguin, 1992.
  8. The Information (1995)
    • The Information. 1995. Flamingo. London: HarperCollins Publishers, 1995.
  9. Night Train (1997)
  10. Yellow Dog (2003)
  11. House of Meetings (2006)
  12. The Pregnant Widow (2010)
  13. Lionel Asbo: State of England (2012)
  14. The Zone of Interest (2014)
    • The Zone of Interest. Jonathan Cape. London: Random House, 2014.
  15. Inside Story (2020)

  16. Short stories:

  17. Einstein's Monsters (1987)
  18. Two Stories (1994)
  19. God's Dice (1995)
  20. Heavy Water and Other Stories (1998)
    • Heavy Water and Other Stories. 1998. Vintage. London: Random House UK Limited, 1999.
  21. Amis Omnibus (1999)
  22. The Fiction of Martin Amis (2000)
  23. Vintage Amis (2004)

  24. Screenplays:

  25. Saturn 3 (1980)
  26. London Fields (2018)

  27. Non-fiction:

  28. Invasion of the Space Invaders (1982)
  29. The Moronic Inferno: And Other Visits to America (1986)
    • The Moronic Inferno, and Other Visits to America. 1986. King Penguin. Harmondsworth: Penguin, 1987.
  30. Visiting Mrs Nabokov: And Other Excursions (1993)
  31. Experience (2000)
    • Experience. 2000. Vintage. London: The Random House Group Limited, 2001.
  32. The War Against Cliché: Essays and Reviews 1971–2000 (2001)
  33. Koba the Dread: Laughter and the Twenty Million (2002)
    • Koba the Dread: Laughter and the Twenty Million. 2002. Vintage. London: The Random House Group Limited, 2003.
  34. The Second Plane (2008)
  35. The Rub of Time: Bellow, Nabokov, Hitchens, Travolta, Trump. Essays and Reportage, 1986–2016 (2017)

  36. Secondary:

  37. Powell, Neil. Amis & Son: Two Literary Generations. Macmillan. London: Pan Macmillan Ltd., 2008.



Sunday, April 23, 2023

Zero at the Bone


Zero
[all photographs: Bronwyn Lloyd]

i.m. Zero Tolerance Lloyd-Ross
(c. November 2007-21st April 2023)

We're devastated by the loss of our delightful companion Zero, who left this world - hopefully for a better one - on Friday.

I don't really have any words to express how much she's meant to us over the fifteen and a bit years we were privileged to have her with us. Instead, I thought I'd put up some photos of her over the course of her life, together with a few poems I wrote about her during this time.

Hail and farewell, beloved friend. We'll never stop missing you.









Zero at the bone


The dark looniness
of your leaping
worries me

no pause to reflect
furry paws
outspread

food comfort sleep
combine in
strange parentheses

(just like the town
they found you in
dodging

post-Xmas traffic)
beating up
poor Smudge

before you’d met us
even
now hounding

Otis
forgiving? maybe
needy

certainly
roving emblem
of desire

claws outspread


(12-15/3/08)
This is an early piece, written shortly after she first came to us. She was certainly a very spirited kitten! Later on she calmed down a little, but she never ceased to have strong views on a number of issues. It first appeared in the anthology below:


Our Own Kind: 100 New Zealand poems about animals. Ed. Siobhan Harvey (Auckland: Godwit, 2009): 67-68.








Zero is lying down today



but little specks of blood
on the bedspread
make me think

she may have run into
one of her twin nemeses
last night

Yellow
a big fat greedy
green-collared glutton

or Brindle
a raccoon-tailed
bully

each of whom
sneaks in the back door
several times a day

to eat her food
she jumps out
hisses at them

but is only a little cat
once or twice we’ve seen
them ganging up on her

unable to help her
unless it’s in plain sight
I suppose that’s it

our little cat
so wilful
cuddly

spirited
has become the thing
we most fear losing

yet cannot safeguard
threaten to crush
with the sheer weight

of our love

(18/1/16-22/10/17)
This poem makes Zero sound like a bit of a victim, and it's true that she was bullied from time to time by larger neighbouring cats. She never provoked these fights, but she always gave as good as she got. Later on most of these cats seem to have moved away, so the last few years of her life were almost entirely free of such squabbles. The poem first appeared in Poetry New Zealand Yearbook 2020, edited by Johanna Emeney, and subsequently in the book below:


The Oceanic Feeling. Drawings by Katharina Jaeger. Afterword by Bronwyn Lloyd (Auckland: Salt & Greyboy Press, 2021): 21.








All I want



is for every moment
of every day

to be constant bliss
for Zero

Astyanax cringing
from his daddy’s helmet

safe in his mother’s arms
Andromache

watching enslaved
as Achilles’ son

throws her baby off
the walls

if only I could wish away
fast cars on the road

trespassing neighbour cats
basements with tempting doors

shut after her
lead nailspoison baits

the loss of a furry friend
is the sack of Troy

by the Greeks



(2/9/22-8/4/23)
This poem, written late last year, sounds uncomfortably prophetic to me now. The reference to Andromache's baby Astyanax being frightened by his father Hector's plume is from Homer's Iliad [Bk 6, ll.466-502]. His death at the hands of Achilles' son Neoptolemus is reported in Euripides' Trojan Women [ll.719-25]. The last two lines are a paraphrase of the quote below:
Someone has said that the death of a mouse by cancer is the whole sack of Rome by the Goths
- Ford Madox Ford, The Good Soldier (1915)






Saturday, July 10, 2021

A Memorial Brass: i.m. Ted Jenner (1946-2021)



Ted Jenner and friends
[l-to-r: Hamish Dewe, Jack Ross, Ted Jenner, Brett Cross]


Edward [Ted] Jenner (1946-8 July 2021) was a friend of mine. I guess one of the things I appreciated most about Ted was his unfailing cheerfulness and unflappability even when things appeared to be going very, very wrong indeed.

Perhaps it was his long years working as a Classics lecturer in Malawi that accustomed him to sudden emergencies, or perhaps it was the hand-to-mouth nature of his life as a writer and teacher in New Zealand, but I never saw him at a loss for a wise and witty thing to say.

I had heard that he was ill, and even in hospital, but I'm sorry to say that the news of his death from cancer in the early hours of Friday morning still came as a shock. He wore his years lightly. He was one of that group of baby-boomer New Zealand poets, all born in 1946, at the close of World War II – Sam Hunt, Bill Manhire, Ian Wedde prominent among them – who've been so influential on our literature.

Much though I always enjoyed chatting to Ted – he was a marvellously learned man, a trained classicist with an expertise in Ancient Greek – I suppose it would be true to say that my only real intimate knowledge of him came through his books. The below is probably not a complete list, but it includes all the titles I myself own:



Ted Jenner: A Memorial Brass (1980)


  1. A Memorial Brass. Eastbourne, Wellington: Hawk Press, 1980.



  2. Ted Jenner: Dedications (1991)


  3. Dedications. Auckland: Omphalos Press, 1991.



  4. Ted Jenner: Love Songs of Ibykos (1997)


  5. The Love-Songs of Ibykos: 22 Fragments. Images by John Reynolds. Auckland: Holloway Press, 1997.



  6. Ted Jenner: Sappho Triptych (2007)


  7. Sappho Triptych. Auckland: Puriri Press, 2007.



  8. Ted Jenner: Writers in Residence (2009)


  9. Writers in Residence and Other Captive Fauna. Auckland: Titus Books, 2009.



  10. Ted Jenner, ed.: brief the fortieth (2010)


  11. brief 40 (July 2010). Ed. Ted Jenner. Auckland: Titus Books, 2010.



  12. Ted Jenner: The Gold Leaves (2014)


  13. The Gold Leaves (Being an Account and Translation from the Ancient Greek of the 'So-Called' Orphic Tablets). Pokeno: Atuanui Press, 2014.



  14. Bill Direen, ed.: Percutio 10: Ted Jenner Issue (2016)


  15. Complete Gold Leaves: Transcriptions of Sixteen Ancient Greek Gold Lamellae. Compiled with English Translations. Dunedin: Percutio Publications, 2016. [In Bill Direen, ed. Percutio 10: A Special Issue devoted to two projects by Classicist and poet Edward Jenner (2016).]



  16. Ted Jenner: The Arrow That Missed (2017)


  17. The Arrow that Missed. Lyttelton: Cold Hub Press, 2017.



Ted Jenner: Sappho Triptych (1980)


Looking back, I seem to have written quite a lot about Ted's work over the years:
  • There's a brief introduction to it here, on this blog.
  • Then there's my review-essay of his Writers in Residence, on the online poetics journal Ka Mate Ka Ora.
  • And, more recently, there's my review of The Arrow that Missed from Poetry NZ Yearbook 2018.

I'm not sure that there's any need to repeat all that here. Suffice it to say that for me, Ted Jenner combined the twin virtues of precise, scrupulous scholarship with an equally strong taste for experimental fiction and poetry – not that I think he saw much difference between the two genres, and, the way he wrote, there really wasn't.

I borrowed the title for this piece from his earliest book, A Memorial Brass, exquisitely printed by Alan Loney at the Hawk Press in 1980. I'd like to conclude with some more of Ted's own words, taken from the title poem:

My dear, they call us bourgeois
But it was essentially

A bourgeois thing to do –
An image of conjugal

Faith – to cross the hands over chest
And breast and stand on

The goblin pups, a monumental
Brass patent

For the bloodstream-fevers.
I remember it was cold

That May with added expense, upkeep
of allotment, and late

Spring blooms falling fierce as
Snow on the gale-lashed

Oats. Very soon a priest mumbled eight
Sacrificia patriarchae nostri

Above us. Commenting now on the
Canon of his mass, I

Like to think it was
Easy in Abraham's time –

Knowledge and fear were deliberate
Then, total, without cover; but

As for us, we lie awake
Until the sleeping's over.

My profoundest condolences to Ted's wife, Vasalua. If he were here I'm sure he could find the perfect words to thank her for making the last years of his life perhaps the happiest of all.

As for me, I'd like to say once more Ave atque Vale: Hail and farewell, to one of the finest scholars and poets I've ever known. Perhaps we'll meet again some day, when the sleeping's over.



Ted Jenner: Love Songs of Ibykos (1997)






NZ Herald obituaries:
A service to celebrate Ted's life will be held at the All Souls Chapel, Purewa, 100 St Johns Road, Meadowbank on Tuesday 13 July at 1pm. No flowers by request please but donations to Forest and Bird would be welcome.

You can link to some other tributes to Ted here.




Wednesday, June 09, 2021

The Wizard of Helensville: John Perry (1943-2021)



Any Given Day: John Perry (2016)


It was a real shock to hear, earlier this week, that art historian, curator and antique dealer John Perry had died. It seems like forever that I've been driving up to Helensville periodically to check out his immense horde of vintage treasure: books, ceramics, furniture, pictures, prints, and everything in between.

Judging from the faded posters for Quentin Tarantino's Jackie Brown and James Cameron's Titanic in the lobby of the old cinema which John Perry had made his own, it must have closed down sometime around 1997. Certainly he'd been there for a good two decades or so.



In the early days, it was still possible to enter the body of the auditorium, and to get some sense of the sheer size of his collection. For many years now that part of the building has been closed off to the public, however, with only the front rooms accessible even to the most agile visitors.

Was it a hoard? Its intractable size and - it seems - uncontrollable tendency to grow made it seem so, but there were always strong themes and schemes underlying his accumulations. For a start, his longterm interest in primitive and outsider art made it essential to look not just at the pictures on the walls, but also those stacked in the narrow aisles.

As a book-collector, I can state with some confidence that John had an unerring eye for quality. I've bought so many treasures there it's hard to list them. But it took some time to learn how to do it. No prices were attached, so one had to be very keen before starting on the negotiation. I never haggled with him, but I found that the longer he talked about any given prize, the lower the price would tend to be.

I've listed, below, a few sample purchases: some of them dazzling coups, others merely interesting, but all bearing witness to his catholic tastes and interests in literature, as well as art!





    Henry Cary, trans.: The Vision of Dante (1910)


  1. Alighieri, Dante. The Vision, or Hell, Purgatory, and Paradise. Trans. Henry Francis Cary. 1814. With 109 Illustrations by John Flaxman. Oxford Edition. London: Henry Frowde / Oxford University Press, 1910.
  2. A nice copy of the first major translation of Dante into English.





    J. C. Beaglehole, ed.: The Endeavour Journal of Joseph Banks, 1768-1771 (1963)


  3. Beaglehole, J. C., ed. The Endeavour Journal of Joseph Banks, 1768-1771. 2 vols. 1962. The Sir Joseph Banks Memorial. Sydney: The Trustees of the Public Library of New South Wales, in association with Angus and Robertson, 1963.
  4. John was certainly very interested in everything to do with Captain Cook, and had a most impressive collection of old maps and early editions of the Voyages.



  5. Barrow, Sir John. The Eventful History of the Mutiny and Piratical Seizure of HMS BOUNTY its Causes and Consequences. 1831. Ed. Captain Stephen W. Roskill. London: The Folio Society, 1976.
  6. Another classic piece of maritime lore, in a reprint by the Folio Society.





    Ernest Sutherland Bates, ed.: The Bible Designed to be Read as Literature


  7. The Bible Designed to be Read as Literature. Ed. Ernest Sutherland Bates. Introduction by Laurence Binyon. London: William Heinemann Limited, n.d. [c. 1930].
  8. A reprint of the King James version arranged for easier reading, with some omissions here and there: a very popular book in its day.



  9. Butler, Rev. Alban. The Lives of the The Fathers, Martyrs and Other Principal Saints. 1756-1759. 5 vols. Ed. Rev. F. C. Husenbeth. Supplementary Volume by Rev. Bernard Kelly. Preface by Rev. J. H. McShane. London, Dublin & Belfast: Virtue & Co. Ltd., 1928.
  10. I think that John told me that he'd acquired the library of an old clergyman, hence the large number of theological books visible latterly on his shelves.





    Arthur Machen, trans.: The Memoirs of Giacomo Casanova di Seingalt (1922)


  11. The Memoirs of Giacomo Casanova di Seingalt, Translated into English by Arthur Machen. Privately Printed for Subscribers Only. 1894. Limited Edition of 1,000 numbered sets. + The Twelfth Volume of the Memoirs of Giacomo Casanova; Containing Chapters VII. and VIII. Never Before Printed; Discovered and Translated by Mr. Arthur Symons; and Complete with an Index and Maps by Mr. Thomas Wright. 12 vols. London: The Casanova Society, 1922-1923.
  12. This was an unexpected windfall one day when I was passing through Helensville with David Howard.






    Chuang Tsu: Inner Chapters (1974)


  13. Chuang Tsu. Inner Chapters. Trans. Gia-Fu Feng & Jane English. London: Wildwood House Ltd., 1974.
  14. John's predilection for Eastern art and philosophy was strongly to the fore in a good deal of what he collected.





    Richard M. Dorson, ed.: American Negro Folktales (1967)


  15. Dorson, Richard M. ed. American Negro Folktales. Greenwich, Conn: Fawcett Premier, 1967.
  16. This classic piece of folklore I bought on an early visit to Helensville with my father, many years ago. Even then it was hard to get at many of the books. One could see but not touch.





    Robert Graves & Joshua Podro: The Nazarene Gospel Restored (1953)


  17. Graves, Robert, & Joshua Podro. The Nazarene Gospel Restored. London: Cassell & Company Limited, 1953.
  18. I could hardly believe it when I first saw this. As a confirmed fan of Robert Graves, even in his nuttier moments, this fabulously rare tome was the only one of his major works which had so far escaped me.





    George & Weedon Grossmith: The Diary of a Nobody (1969)


  19. Grossmith, George, & Weedon Grossmith. The Diary of a Nobody. 1892. Drawings by John Lawrence. 1969. London: The Folio Society, 1970.
  20. A nice Folio edition of this minor classic.





    H. W. Longfellow: Poetical Works (1908)


  21. Henry Wadsworth Longfellow. The Poetical Works of Longfellow. Oxford Complete Copyright Edition. London, New York & Toronto: Henry Frowde / Oxford University Press, 1908.
  22. This I bought on my last trip up to the shop. I wrote about it here.





    Harry Price: The End of Borley Rectory (1946)


  23. Harry Price. The End of Borley Rectory: 'The Most Haunted House in England'. 1946. London: George G. Harrap & Co. Ltd., 1952.
  24. And this I found the time before. I wrote about it here.





    George Ryley Scott: The History of Torture throughout the Ages (1940)


  25. Scott, George Ryley. The History of Torture throughout the Ages. 1940. London: Torchstream Books (Charles Skilton Ltd.), 1964.
  26. This was one of a pair of books by this English eccentric: the other being devoted to a history of flagellation. Not really my thing, to be honest,but they're certainly both quite collectable.


TVNZ: John Perry (2019)


That last (and oddest) volume on the list above seemed increasingly prophetic the last few times we saw John. He had such a strong desire to get away - to do the overseas trips he'd always planned, to live in some exotic otherwhere for a year or two.

He told us he'd worked out that he'd only spent 18 months or so of his life outside New Zealand, and felt that this was far too little for a man of his tastes. And yet, somehow, it just didn't happen.

Health worries, business worries (the sheer complexity of dealing with - let alone handing on - his building and its contents), and of course the epidemic, combined to make this an unattainable dream.

The second-to-last time we saw him, he invited me upstairs into his apartment, and I got some sense of how he lived there, surrounded by pictures and curios, with his rooftop garden out the front, there on the outskirts of the ancient Kauri kingdom of Helensville.



Mind you, it didn't seem too bad a place to live out your days - his apartment had a slightly Latin American air, as if he were one of those retired Colonels in a García Márquez novel, watching the rains come and go across the sinuous flatlands of the Kaipara.



Perhaps Kendrick Smithyman, who grew up in Te Kopuru, just up the coast, put it best, in one of his earlier, uncollected poems:
Kaipara

English visitors find strangely unlovely
a river all silt prospecting coarse paddocks
as though reluctant of its way with tides.
Sluggishly it bends south, half-circling
raw hills which even in summer eat at clouds.
Mornings break out cold on a terse view.
Westward, they bear the Tasman’s unstopped rumour.

They want cars to take them north to an alien bush,
or would get back to the brashest city – its harbour
is famed more tantalising. A city may offer
even the least men a consolation of like crowds.
Whereas, that northern country proffers nothing,
but lies suffering all wounds made in its soils
and knows to be spoiled and rent and made over
is to have estranged spirit, but can be patient.
Sensual men are dulled. Earth is tutored bearing.

Yet if you make your peace with that soil
which burns barren this season the land will give
peace in return. Eyes will learn to open
the clay scars, bush burns, water courses;
learn way of manuka and lank toitoi, harshly winded.
Then, not heard before but some morning unpredicted,
a certain music is sensed to have spoken.
At midday there are birds springing beyond sight,
evening is tempered. Dogs barking summer away.

I can never drive through Helensville without thinking of that phrase: "Dogs barking summer away." Now it makes me remember how much John hated the screech of brakes as cars and trucks hooned round the bend into town. He'd shrug, stop for a moment in mid-discourse, then resume once they'd made their way by.

Rest in peace, John. You'll be greatly missed by all your many friends, here and elsewhere.