Classic Ghost Story Writers: Wilkie Collins

The Woman in White (1982)

Recently Bronwyn and I rewatched this old British miniseries from the 1980s - The Woman in White. I remember back in the day experiencing ever increasing anxiety and horror as poor Jenny Seagrove sank deeper and deeper into the clutches of the evil Count Fosco.

Wilkie Collins: The Woman in White (1860)

Which makes it sound like some kind of comic melodrama, but anyone who's ever read the novel knows it to be anything but. The creepy, claustrophobic atmosphere of the story seems to come out of some profound depth of personal paranoia and depression. Some of this can be perhaps attributed to Wilkie Collins' habit of taking opium, which took an ever greater hold on him in the decades after this, his first great success.

Deadwood, Series 1, episode 10: Mr. Swearengen & Mr. Wu (2004)

But then, the nineteenth century was full of 'dope-fiends' (as Al Swearengen in Deadwood was wont to refer to them), and none of the others showed any signs of producing anything like The Woman in White ...

Kathleen Tillotson: Novels of the Eighteen-Forties (1954)

Or did they? Kathleen Tillotson's fascinating book on the English novel of the 1840s points out a number of its distinctive features: a greater sexual frankness, in particular, than was possible later, as the Victorian era gradually became more and more morally bankrupt and intellectually stultifying.

Given that the four novels she chose to illustrate her thesis were Dickens' Dombey & Son (1848), Charlotte Brontë's Jane Eyre (1847), Elizabeth Gaskell's Mary Barton (1848) and Thackeray's Vanity Fair (1848), she might actually have called it "Novels of 1848", if it weren't for the fact that that would have sounded as if she meant to draw some parallel with the Year of Revolution.

Charles Dickens: Great Expectations (1860)

What, then, of the novel of the 1860s - the decade dominated by Wilkie Collins and The Woman in White? If, like me, you have a taste for the intricate pathways of the disturbed mind, spiritualism and psychogeography, then this is certainly the period for you.

Dostoevsky did not begin to appear in English translation until the 1880s, so it would be difficult to draw close parallels with Crime and Punishment (1867) or his memoir of exile in Siberia, The House of the Dead (1862). Victor Hugo's Les Misérables (1862) certainly had a strong influence on the English writers of the 1860s, however.

But the fact remains that The Woman in White predated all this, so the craze for novels of mystery and the occult does have to be seen as a home-grown phenomenon - a reaction, perhaps, to the predominant social realism of the preceding decades.

Mary Elizabeth Braddon: Lady Audley's Secret (1862)

Lady Audley's Secret was (in John Sutherland's words) "the most sensationally successful of all the sensation novels."

Lady Audley's Secret (2000)

Elaine Showalter accounts for at least some of its appeal when she summarises it as follows:

Braddon's bigamous heroine deserts her child, pushes husband number one down a well, thinks about poisoning husband number two and sets fire to a hotel in which her other male acquaintances are residing.

Wilkie Collins: No Name (1862)

The same anxieties about gender and the chafing constraints it imposes on individual freedom can be seen in Wilkie Collins' follow-up to the Woman in White. No Name is an almost equally fascinating novel, which has unfortunately languished under the shadow of its supererogatory predecessor. Its heroine, Magdalen, while not quite as anarchic as Lady Audley, is just as determined to make her way in the world - in spite of the unfair obstacle of illegitimacy.

Charles Dickens: Our Mutual Friend (1864)

By now Dickens, too, was affected by the trend. His last completed novel, Our Mutual Friend, is a strangely labyrinthine narrative full of doubles and dead men who won't lie down. It does include a love story - of a sort - but the nightmarish vision of a spectral London it concentrates on makes it, for most Dickensians, either their favourite or their least favourite among his works. I am, mind you, decidedly of the former persuasion.

Some of these 'sensationalist' tendencies were already apparent in its immediate predecessor Great Expectations - with its speaking tombstones and hideous convicts - the return of the repressed with a vengeance. Our Mutual Friend took him much further down the peculiar paths of the guilty conscience, however.

J. Sheridan Le Fanu: Uncle Silas (1864)

There is a certain atmosphere of playacting, at times, even in the most bloodcurdling of these mystery novels. Those written by English writers, at any rate. The same could not be said of Sheridan Le Fanu's Uncle Silas. As in his ghost stories, Le Fanu shows every sign of believing what he writes, and of having a more intimate acquaintance with evil than any of his contemporaries.

Uncle Silas is grotesque, exaggerated, even burlesque at times, but it's not actually unbelievable. There's something only too credible about it all, since its author is clearly not joking. Killing a young girl for her inheritance is a standard melodramatic plot from way back, but if you did mean to do it, this might be how you might go about it. And, after all, it is something people do do - and did do - so it can't really be dismissed as a fantasy.

Wilkie Collins: Armadale (1866)

I suppose that Wilkie Collins must have felt the pressure of all this competition, because his next novel, Armadale, really pulls out the stops. I must confess that there were moments while reading it when I could hardly believe my eyes. Did he really just say that? Shipwrecks, doubles, hauntings - you name it, it's all there.

The fever of an opium dream is combined here with the precision of a forensic accountant. I think it's safe to say that there can be few weirder novels in the whole of English literature than Collins's Armadale.

Wilkie Collins: The Moonstone (1868)

But in the end, this was the one that scooped the pot. Long famed as the first English detective story, The Moonstone, too, has opium dreams, sinister orientals, lurking gypsies, damsels in distress, and all the usual trappings of a Wilkie Collins fantasia. The method of telling it through overlapping documents - while hackneyed enough - is deployed particularly effectively here.

I suppose, in the long run, it can't really be compared with the spectral complexities of The Woman in White, one of the great English novels, but it is understandable how many people still prefer The Moonstone to any of its predecessors.

Charles Dickens: The Mystery of Edwin Drood (1870)

And, since one has to end somewhere when discussing the sensation novel of the 1860s, where better than with Dickens' last, unfinished serial, The Mystery of Edwin Drood?

It can't really be judged as a whole, since only the opening portions survive, but they're enough to convince readers then and now that a radical readjustment both of style and subject matter was going on in their favourite author. From the opening scene in an opium parlour to the strange, haunted cathedral which dominates it, Edwin Drood reads more like a precursor of Kafka than a natural outgrowth of what had gone before in Dickens' work.

Unfortunately it proved difficult for Wilkie Collins to keep up these levels of intensity in his subsequent fiction. Many of his later novellas and short stories show just as much invention and skill as these long works of his maturity, but his novels began to suffer from the diffusion of concentration attendant on his longterm addiction.

Sheridan Le Fanu, too, having written a succession of strange masterpieces in the 1860s, fell off in his later work (except, again, in short stories such as the ones in his 1872 collection In A Glass Darkly). If you do want to go on from Uncle Silas, though, all three of the novels below can be strongly recommended:

1. The House by the Churchyard. 1863. Introduction by Elizabeth Bowen. The Doughty Library. London: Anthony Blond, 1968.
2. Wylder’s Hand. 1864. New York: Dover, 1978.
3. Guy Deverell. 1865. New York: Dover, 1984.

The Mystery of Edwin Drood (UK, 2012)

•

John Everett Millais: Wilkie Collins (1850)

William Wilkie Collins
(1824-1889)

Novels:


1. Iolani, or Tahiti as it was: A Romance. 1844 (1999)
2. Antonina (1850)
3. Basil (1852)
4. Hide and Seek (1854)
   • Hide and Seek, or, The Mystery of Mary Grice. 1854. Rev. ed. 1861. Introduction by Norman Donaldson. New York: Dover Publications, Inc., 1981.
5. The Dead Secret (1856)
6. A Rogue's Life (1856/1879)
7. The Woman in White (1860)
   • The Woman in White. 1860. Ed. John Sutherland. 1996. Oxford World's Classics. Oxford: Oxford University Press, 1998.
   • The Woman in White. 1860. London: Thomas Nelson and Sons Ltd., n.d.
8. No Name (1862)
   • No Name. 1862. Ed. Mark Ford. 1994. Penguin Classics. Harmondsworth: Penguin, 2004.
9. Armadale (1866)
   • Armadale. 1864-66. New York: Dover Publications, Inc., 1977.
10. The Moonstone (1868)
    • The Moonstone. 1868. Introduction by Dorothy L. Sayers. Everyman’s Library, 979. London: J. M. Dent & Sons Ltd. / New York: E. P. Dutton & Co. Inc., 1944.
    • The Moonstone. 1868. Afterword by T. S. Eliot. 1928. Ed. Sandra Kemp. 1998. Penguin English Library. London: Penguin, 2012.
11. Man and Wife (1870)
12. Poor Miss Finch (1872)
    • Poor Miss Finch. 1872. Ed. Catherine Peters. Oxford World's Classics. 1995. Oxford: Oxford University Press, 2008.
13. The New Magdalen (1873)
    • The New Magdalen. 1873. Pocket Classics. 1993. Phoenix Mill, Thrupp, Stroud, Gloucestershire: Alan Sutton Publishing Limited, 1998.
14. The Law and the Lady (1875)
15. The Two Destinies (1876)
16. The Fallen Leaves (1879)
    • The Fallen Leaves. 1879. Pocket Classics. 1994. Phoenix Mill, Thrupp, Stroud, Gloucestershire: Alan Sutton Publishing Limited, 1997.
17. Jezebel's Daughter [novelisation of Collins' play The Red Vial (1858)] (1880)
18. The Black Robe (1881)
19. Heart and Science (1883)
20. I Say No (1884)
    • 'I Say No'. 1884. Pocket Classics. 1995. Phoenix Mill, Thrupp, Stroud, Gloucestershire: Alan Sutton Publishing Limited, 1998.
21. The Evil Genius (1886)
22. The Guilty River (1886)
23. The Legacy of Cain (1889)
24. [with Walter Besant] Blind Love (1890)

Short Stories:


25. Mr Wray's Cash Box. Or, the Mask and the Mystery. A Christmas sketch (1852)
26. A Terribly Strange Bed (1852)
27. Gabriel's Marriage (1853)
28. The Ostler (1855)
29. After Dark (1856)
30. The Lady of Glenwith Grange (1856)
31. [with Charles Dickens] The Wreck of the Golden Mary (1856)
    • Dickens, Charles, & Wilkie Collins. The Wreck of the Golden Mary. 1856. Illustrated by John Dugan. Venture Library. London: Methuen & Co. Ltd., 1961.
32. [with Charles Dickens, Elizabeth Gaskell & Adelaide Anne Procter] A House to Let (1858)
33. [with Charles Dickens, Elizabeth Gaskell, Adelaide Anne Proctor, George Sala & Hesba Stretton] The Haunted House (1859)
34. The Queen of Hearts (1859)
35. Miss or Mrs? (1873)
    • Miss or Mrs? 1873. Pocket Classics. 1993. Phoenix Mill, Thrupp, Stroud, Gloucestershire: Alan Sutton Publishing Limited, 1995.
36. The Frozen Deep and Other Stories (1874)
    1. The Frozen Deep
       • The Frozen Deep. 1874. London: Hesperus Press Limited, 2012.
    2. The Dream Woman
    3. John Jago's Ghost; or The Dead Alive
37. The Haunted Hotel (1878)
    • The Haunted Hotel. 1878. Penguin Red Classic. 2008. Melbourne: Penguin Group (Australia), 2009.
38. My Lady's Money (1879)
39. Who Killed Zebedee? (1881)
40. The Ghost's Touch and Other Stories (1885)
41. Little Novels (1887)
    1. The Queen's Revenge
    2. Mad Monkton
    3. Sights A-Foot
    4. The Stolen Mask
    5. The Yellow Mask
    6. Sister Rose
42. [with Charles Dickens] The Lazy Tour of Two Idle Apprentices (1890)
43. Tales of Terror and the Supernatural. Ed. Herbert van Thal. New York: Dover Publications, Inc., 1972.

Non-fiction:


44. Memoirs of the Life of William Collins, Esq., R.A. (1848)
45. Rambles Beyond Railways, or, Notes in Cornwall taken a-foot. Illustrations by Henry C. Brandling (1851)
46. My Miscellanies (1863)

Plays:


47. [with Charles Dickens] The Frozen Deep (1857)
48. The Red Vial (1858)
49. [with Charles Dickens] No Thoroughfare (1867)
50. Black and White (18––)
51. Miss Gwilt (18––)

Secondary:


52. Peters, Catherine. The King of Inventors: A Life of Wilkie Collins. 1991. Minerva. London: Mandarin Paperbacks, 1992.

•

Wilkie Collins: After Dark (1856)

SF Luminaries: John Wyndham

John Wyndham: Plan for Chaos (1951 / 2009)

Plan for Chaos is a very odd book. It's certainly not without interest. However, I think one can see why no publishers actually leapt at the chance of putting it out back in the early 1950s when veteran Sci-fi writer Frederik Pohl (then moonlighting as a literary agent for John Wyndham and various other clients) was shopping it around New York.

There's the Nazi angle. In that respect, it serves as a precursor to Philip K. Dick's alternative history classic The Man in the High Castle (1962), or - for that matter - M. K. Joseph's Tomorrow the World, written in the late 1970s but only published posthumously in 2020.

There's the evil clone angle. In some ways it's very like Ira Levin's The Boys from Brazil (1976), only this time with flying saucers thrown in: quite a novel plot-twist for 1951, given that the expression wasn't actually coined until 1947, as a result of Kenneth Arnold's claim that the objects he saw on June 24 of that year "moved like saucers skipping across the water."

Amazing Stories (1946)

One can see so much in it, and yet it somehow doesn't quite work - it isn't visceral, actual, like his breakthrough title The Day of the Triffids (1951), or even its successor The Kraken Wakes (1953).

I'm not sure how much I need to say about them. I wrote a piece focussing on my early reading of The Day of the Triffids, in particular, in the introduction to my New Zealand Speculative Fiction website. I doubt that it's necessary to repeat all that here.

John Beynon: The Secret People (1935)

Nevertheless, having recently reread as much of his earlier work as I can easily access, it is facinating to see how many false starts one writer can have before settling into their mature style. There are flashes of Wyndham in all of the early novels, but the instinctively colonial attitudes displayed in both The Secret People (1935) and Planet Plane (1936) seem pretty repellent now.

John Beynon: Planet Plane (1936)

The John Wyndham heroine - smart, stylish, witty - familiar from later books begins to make an appearance quite early on, which is really the main attraction of these pre-war pulp serials and short stories. For those curious about how he came to create this character in the first place, Amy Binns' recent biography provides a number of new insights.

Amy Binns: Hidden Wyndham: Life, Love, Letters (2019)

It's probably not much of an exaggeration to say that without her book, the so-called "invisible man of Science Fiction" would have remained a shadowy figure, accessible only through his witty prose and a set of curiously repetitive ideas. Fatherless children, wiser than their elders (Chocky, The Chrysalids, The Midwich Cuckoos); alien invasions of the British countryside ("The Puff-Ball menace", The Day of the Triffids, Trouble with Lichen); the oppressive nature of conventional domesticity ("Dumb Martian," "Survival," "Compassion Circuit") ... Binns supplies vital information about Jack Harris's early life which make seem these far less unaccountable.

But literary talent is, of course, not readily reducible to any such set of causes. Why did it take him so long to break through? Why did he persevere in the face of such steady discouragement? Where did those Triffids really come from?

H. G. Wells: SF Masterworks Series

We'll never know. It is, however, safe to say that without H. G. Wells, there would have been no John Wyndham. So many of his ideas - not to mention the ease of his story telling - find their roots in the vast turbulent sea of Wells's oeuvre (particularly the early SF romances and short stories). But Wyndham is not Wells: he lacks his didactic bent, and has a healthy cynicism about the expression of great ideas. His appeal was to as much to the readers of Evelyn Waugh and P. G. Wodehouse as it was to hard-core Sci-fi fans.

I suppose that John Wyndham's real tragedy was that his success came so late, and that he died so young. But then, that's more our tragedy than his. There's no doubt that he had more to say, but the few books he did write remain classics of the genre. The fact that they're still in print after half a century rather speaks for itself.

The John Wyndham Omnibus (1979)

A great deal of incidental information about him is available online at the John Wyndham Archive website. Beyond that, much though I would recommend Amy Binns's well-written and insightful biography, your first stopping-place should be the books themselves - from the Triffids onwards, at any rate. If you don't find them charming and absorbing at first sight, chances are he's not for you.

Brian AldissBillion Year Spree (1973)

In his 1973 history of the SF genre, Billion (later revised to 'Trillion') Year Spree, Brian Aldiss described John Wyndham's breakout books as ‘cosy catastrophes’:

Both novels [The Day of the Triffids and The Kraken Wakes] were totally devoid of ideas but read smoothly, and thus reached a maximum audience, who enjoyed cosy disasters. Either it was something to do with the collapse of the British Empire, or the back-to-nature movement, or a general feeling that industrialization had gone too far, or all three.

Aldiss goes on to describe the characteristics of this ‘urbane and pleasing’ SF subgenre as follows:

The essence of cosy catastrophe is that the hero should have a pretty good time (a girl, free suites at the Savoy, automobiles for the taking) while everyone else is dying off … Such novels are anxiety fantasies. They shade off towards the greater immediacy of World War III novels, a specialist branch of catastrophe more usually practiced by American writers.

He concludes with a rather premature epitaph on Wyndham and his ilk: ‘the race is not always to the swift, etc.’ Unfortunately, such dismissive judgements on a possible trade rival can cut both ways. Has Brian Aldiss himself fared much better?

Who (besides myself) now reads Non-stop (1958) or Hothouse (1962)? Who wades through The Malacia Tapestry or the Helliconia trilogy? Who remembers that one of Stanley Kubrick’s last film projects was an adaptation of Aldiss’s short story ‘Super-Toys Last All Season Long,’ which he delegated instead to Steven Spielberg, who turned it into the flawed, though not uninteresting, A.I.?

Steven Spielberg, dir.: A.I.: Artificial Intelligence (2001)

John Wyndham, by contrast, continues to be read. It seems safe to say now that he probably always will be. Aldiss's rather self-conscious attempts to be mod and up-to-the-minute sound even more uncomfortably dated now than what he saw as Wyndham's perverse determination to write "a kind of country-house science fiction."

And, as Hilaire Belloc once put it, speaking (perhaps) for all such writers who pop in and out of fashion with the passing years:

When I am dead, I hope it may be said:
"His sins were scarlet, but his books were read."

Amy Binns: Hidden Wyndham: Life, Love, Letters (2019)

•


John Wyndham (1903-1969)

John Wyndham Parkes Lucas Beynon Harris
(1903-1969)

[His work appeared under a variety of pseudonyms, mostly constructed from his various initials: John Beynon, John Beynon Harris, John B. Harris, Johnson Harris, J. W. B. Harris, Lucas Parkes, Wyndham Parkes, & John Wyndham among them]

Novels:


1. [as 'John B. Harris']: The Curse of the Burdens. Aldine Mystery Novels No. 17 (London: Aldine Publishing Co. Ltd. 1927)


2. [as 'John Beynon']: The Secret People (1935)
   • The Secret People. 1935. Coronet Books. London: Hodder Paperbacks Ltd., 1972.


3. Foul Play Suspected (London: Newnes, 1935)


4. Planet Plane [aka 'The Space Machine'] (1936)
   • Stowaway to Mars. 1935. Coronet Books. 1972. London: Hodder Paperbacks Ltd., 1977.


5. [as 'John Wyndham']: The Day of the Triffids [aka 'Revolt of the Triffids']. 1951. Harmondsworth: Penguin, 1954.


6. The Kraken Wakes [aka 'Out of the Deeps']. 1953. Harmondsworth: Penguin, 1975.


7. The Chrysalids [aka 'Re-Birth']. 1955. Harmondsworth: Penguin, 1974.


8. The Midwich Cuckoos. 1957. Harmondsworth: Penguin, 1960.


9. Trouble with Lichen. 1960. Harmondsworth: Penguin, 1963.


10. Chocky. 1968. Harmondsworth: Penguin, 1970.


11. Web. 1979. Harmondsworth: Penguin, 1980.


12. Plan for Chaos. Ed. David Ketterer & Andy Sawyer. 2009. Introduction by Christopher Priest. London: Penguin, 2010.


Short Story Collections:


13. Jizzle. 1954. Four Square. London: New English Library, 1973.
    1. Jizzle
    2. Technical Slip
    3. A Present from Brunswick
    4. Chinese Puzzle
    5. Esmeralda
    6. How Do I Do?
    7. Una
    8. Affair of the Heart
    9. Confidence Trick
    10. The Wheel
    11. Look Natural, Please!
    12. Perforce to Dream
    13. Reservation Deferred
    14. Heaven Scent
    15. More Spinned Against


14. The Seeds of Time. 1956. Harmondsworth: Penguin, 1972.
    1. Foreword by John Wyndham
    2. Chronoclasm
    3. Time To Rest
    4. Meteor
    5. Survival
    6. Pawley's Peepholes
    7. Opposite Number
    8. Pillar To Post
    9. Dumb Martian
    10. Compassion Circuit
    11. Wild Flower


15. Tales of Gooseflesh and Laughter [US selection from 'Jizzle' and 'The Seeds of Time'] (1956)
    1. Chinese Puzzle
    2. Una
    3. The Wheel
    4. Jizzle
    5. Heaven Scent
    6. Compassion Circuit
    7. More Spinned Against
    8. A Present from Brunswick
    9. Confidence Trick
    10. Opposite Numbers
    11. Wild Flower


16. [with 'Lucas Parkes']: The Outward Urge. 1959 & 1961. Harmondsworth: Penguin, 1962.
    1. The Space Station A.D. 1994 [aka 'For All the Night'] (1958)
    2. The Moon A.D. 2044 [aka 'Idiot’s Delight'] (1958)
    3. Mars A.D. 2094 [aka 'The Thin Gnat-Voices'] (1958)
    4. Venus A.D. 2144 [aka 'Space Is a Province of Brazil'] (1958)
    5. The Asteroids A.D. 2194 [aka 'The Emptiness of Space'] (1960)


17. Consider Her Ways and Others. 1961. Harmondsworth: Penguin, 1971.
    1. Consider Her Ways
    2. Odd
    3. Stitch in Time
    4. Oh Where, Now, is Peggy MacRafferty?
    5. Random Quest
    6. A Long Spoon


18. The Infinite Moment [US edition of 'Consider Her Ways and Others', with two stories replaced] (1961)
    1. Consider Her Ways
    2. Odd
    3. How Do I Do
    4. Stitch In Time
    5. Random Quest
    6. Time Out


19. The Best of John Wyndham. London: Sphere Books Ltd., 1973.
    1. The Lost Machine (1932)
    2. The Man from Beyond (1934)
    3. The Perfect Creature (1937)
    4. The Trojan Beam (1939)
    5. Vengeance by Proxy (1940)
    6. Adaptation (1949)
    7. Pawley's Peepholes (1951)
    8. The Red Stuff (1951)
    9. And the Walls Came Tumbling Down (1951)
    10. Dumb Martian (1952)
    11. Close Behind Him (1952)
    12. The Emptiness of Space (1960)


20. [as ‘John Beynon’]: Sleepers of Mars. Introduction by Walter Gillings. Coronet Books. 1973. London: Hodder Paperbacks Ltd., 1973.
    1. The Fate of the Martians, by Walter Gillings
    2. Sleepers of Mars (1939)
    3. Worlds to Barter (1931)
    4. Invisible Monster (1933)
    5. The Man from Earth (1934)
    6. The Third Vibrator (1933)


21. [as ‘John Beynon Harris’]: Wanderers of Time. Introduction by Walter Gillings. Coronet Books. 1973. London: Hodder Paperbacks Ltd., 1974.
    1. Before the Triffids, by Walter Gillings
    2. Wanderers of Time [aka 'Love in Time'] (1933)
    3. Derelict of Space (1939)
    4. Child of Power (1939)
    5. The Last Lunarians (1934)
    6. The Puff-Ball Menace [aka 'Spheres of Hell'] (1933)


22. [as ‘John Beynon’]: Exiles on Asperus. Coronet Books. 1979. London: Hodder Paperbacks Ltd., 1980.
    1. Exiles on Asperus (1933)
    2. No Place Like Earth (1951)
    3. The Venus Adventure (1932)


23. No Place Like Earth [Some stories previously published in 'Jizzle', 'The Seeds of Time', 'Consider Her Ways and Others', Wanderers of Time' and 'Exiles on Asperus'] (2003)
    1. Derelict of Space
    2. Time to Rest
    3. No Place Like Earth
    4. In Outer Space There Shone a Star
    5. But a Kind of a Ghost
    6. The Cathedral Crypt
    7. A Life Postponed
    8. Technical Slip
    9. Una
    10. It's a Wise Child
    11. Pillar to Post
    12. The Stare
    13. Time Stops Today
    14. The Meddler
    15. Blackmoil
    16. A Long Spoon

Short stories:

[Included in Jizzle (1954); The Seeds of Time (1956);
Consider Her Ways and Others / The Infinite Moment {CW / IM} (1961);
Sleepers of Mars / Wanderers of Time / Exiles on Asperus {SM / WT / EA} (1973, 1974, 1979);
The Best of John Wyndham / No Place Like Earth {Best / NPE} (1973, 2003)]


1. Worlds to Barter {SM} (1931)
2. The Lost Machine {Best} (1932)
3. The Stare {NPE} (1932)
4. The Venus Adventure {EA} (1932)
5. Exiles on Asperus {EA} (1933)
6. Invisible Monster {SM} (1933)
7. The Puff-Ball Menace {WT} [aka 'Spheres of Hell'] (1933)
8. The Third Vibrator {SM} (1933)
9. Wanderers of Time {WT} [aka 'Love in Time'] (1933)
10. The Man from Earth {SM} [aka 'The Man from Beyond' {Best}] (1934)
11. The Last Lunarians {WT} [aka 'The Moon Devils'] (1934)
12. The Cathedral Crypt {NPE} (1935)
13. The Perfect Creature {Best} (1937)
14. Judson's Annihilator [aka 'Beyond the Screen'] (1938)
15. Sleepers of Mars {SM} (1938)
16. Child of Power {WT} (1939)
17. Derelict of Space {WT} {NPE} (1939)
18. The Trojan Beam {Best} (1939)
19. Vengeance by Proxy {Best} (1940)
20. Meteor (1941)
21. The Living Lies (1946)
22. Technical Slip {NPE} (1949)
23. Jizzle (1949)
24. Adaptation {Best} (1949)
25. Time to Rest {NPE} (1949)
26. The Eternal Eve (1950)
27. Pawley's Peepholes {Best} (1951)
28. The Red Stuff {Best} (1951)
29. No Place Like Earth {EA} {NPE} [aka 'Tyrant and Slave-Girl on Planet Venus'] (1951)
30. And the Walls Came Tumbling Down {Best} (1951)
31. A Present from Brunswick [aka 'Bargain from Brunswick'] (1951)
32. Pillar to Post {NPE} (1951)
33. The Wheel (1952)
34. Survival (1952)
35. Dumb Martian {Best} (1952)
36. Time Out {IM} (1953)
37. Close Behind Him {Best} (1953)
38. Time Stops Today {NPE} (1953)
39. Chinese Puzzle [aka 'A Stray from Cathay'] (1953)
40. Chronoclasm (1953)
41. Reservation Deferred (1953)
42. More Spinned Against (1953)
43. Confidence Trick (1953)
44. How Do I Do? {IM} (1953)
45. Affair of the Heart (1954)
46. Esmeralda (1954)
47. Heaven Scent (1954)
48. Look Natural, Please! (1954)
49. Never on Mars (1954)
50. Perforce to Dream (1954)
51. Una {NPE} (1954)
52. Opposite Number (1954)
53. Compassion Circuit (1954)
54. Wild Flower (1955)
55. Consider Her Ways {CW / IM} (1956)
56. But a Kind of Ghost {NPE} (1957)
57. The Meddler {NPE} (1958)
58. For All the Night [aka 'The Space Station A.D. 1994' - from The Outward Urge] (1958)
59. Idiot’s Delight [aka 'The Moon A.D. 2044' - from The Outward Urge] (1958)
60. The Thin Gnat-Voices [aka 'Mars A.D. 2094' - from The Outward Urge] (1958)
61. Space Is a Province of Brazil [aka 'Venus A.D. 2144' - from The Outward Urge] (1958)
62. A Long Spoon {CW} {NPE} (1960)
63. The Emptiness of Space [aka 'The Asteroids A.D. 2194' - from The Outward Urge] {Best} (1960)
64. Odd {CW / IM} (1961)
65. Oh, Where, Now, Is Peggy MacRafferty? {CW} (1961)
66. Random Quest {CW / IM} (1961)
67. Stitch in Time {CW / IM} (1961)
68. It's a Wise Child {NPE} (1962)
69. Chocky (1963)
70. In Outer Space There Shone a Star {NPE} (1965)
71. A Life Postponed {NPE} (1968)
72. 'Phase Two': Excerpt (1973)
73. Vivisection (2000)
74. Blackmoil {NPE} (2003)

Secondary:


24. Amy Binns. Hidden Wyndham: Life, Love, Letters. London: Grace Judson Press, 2019.

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John Wyndham: Plan for Chaos (2009)

Levi the Memorious: A Survivor's Tale

The Complete Works of Primo Levi (2015)

I think that the first time I actually read anything by Primo Levi was around the turn of the millennium, when a colleague of mine extracted a chapter from If This is a Man for inclusion in an anthology of readings for our then-new "Life Writing" course.

I knew the name, of course, and had seen The Periodic Table and other books of his displayed on many bookshelves. I don't know quite why I hadn't opened any of them up till then.

Fear, I suppose - fear of the horrors they might contain. I'd read a number of books and watched a great many documentaries about the Holocaust by then, and it was getting harder to persuade myself to endure all that again each time - shameful though that undoubtedly sounds.

I still remember my shock at reaching the last line of Levi's chapter 13: "October 1944":

Primo Levi: If This is a Man (1947)

Silence slowly prevails and then, from my bunk on the top row, I see and hear old Kuhn praying aloud, with his beret on his head, swaying backwards and forwards violently. Kuhn is thanking God because he has not been chosen.
Kuhn is out of his senses. Does he not see Beppo the Greek in the bunk next to him, Beppo who is twenty years old and is going to the gas-chamber the day after tomorrow and knows it and lies there looking fixedly at the light without saying anything and without even thinking anymore? Can Kuhn fail to realize that next time it will be his turn? Does Kuhn not understand that what has happened today is an abomination, which no propitiatory prayer, no pardon, no expiation by the guilty, which nothing at all in the power of man can ever clean again?
If I was God, I would spit at Kuhn’s prayer.

Everything else in the chapter - in the book, even - is described so calmly and dispassionately, that the last line explodes like a bomb.

You begin to get some idea of the sheer pressure of need for expression of the events and sights in his book. It's not a masterpiece because of the scenes it depicts. Nor is it a masterpiece in spite of the author's closeness to his material. No, it's a masterpiece because of what it is: the organic expression by an exceptionally alert intelligence of a series of horrors almost beyond communication.

Primo Levi: If This is a Man / The Truce (1947 / 1963)

After that I began to collect Levi's books - in a rather desultory way. I guess I thought that since nothing could possibly top the white-hot intensity of If This is a Man, his other works must be some kind of comedown just in the nature of things ...

The Truce was very good also, though: completely different from his first book about the concentration camp, but equally absorbing.

Primo Levi: The Periodic Table (1975)

On top of that, The Periodic Table and The Wrench both do a great job of communicating the absorbing interest of the world of work to dedicated professionals: chemists and construction workers, respectively.

Primo Levi: The Wrench (1978)

So it did come as a bit of a shock to me to realise that I'd somehow missed any announcement of the sumptuous, three-volume edition of his Complete Works in English pictured at the head of this post.

And even more of a shock when, before ordering it, I checked out some of the online reviews. Here's William Deresiewicz in The Atlantic Monthly (December 2015):

Three volumes, 3,000 pages: The Complete Works of Primo Levi, in its very girth and exhaustiveness, asserts a claim about the man whose oeuvre it collects. Best known for his Holocaust memoir, If This Is a Man, as well as for The Periodic Table — a book about his life in, with, and through chemistry — Levi should be seen, as the collection’s publicity material puts it, as “one of the twentieth century’s greatest writers.” Novels, stories, poems, essays, science writing, science fiction, newspaper columns, articles, open letters, book reviews: His every word is worth preserving, translating, purchasing, pondering. To read them all together, the collection insists, is to see the man anew.
I say this with reluctance — The Complete Works, which was 15 years in the making, is clearly a labor of love, meticulously edited by Ann Goldstein and seamlessly carried over from Italian, in fresh renditions, by a team of 10 translators — but the claim, on the volumes’ own evidence, is manifestly false. Levi is a great writer. He is a vivid writer, an unflinching writer, an indispensable writer. But he is also a limited writer, both in talents and in range. It does no favors, to the reader or to him, to try to rank him with the likes of Joyce, Proust, Kafka, and Beckett. His achievement, in his work about the Holocaust and its aftermath — If This Is a Man, The Truce, and The Drowned and the Saved, as well as parts of Lilith and The Periodic Table — is significant enough. Surrounding that achievement with masses of ephemera only obscures it. A selected works, at half the length for half the price (The Complete Works lists for $100), would have served him better.

$100? Try $US30.49! One of the reasons I was so quick to order the book was that I couldn't believe how cheap it was. Reviews such as the one above must have been pretty effective in killing any appetite for this edition, swollen - as Deresiewicz alleges it is - 'with masses of ephemera'.

Not all the reviews were in this vein, mind you. Here's a nice, rather more subtly reasoned one by Robert S. C. Gordon from the website Public Books (15 January 2016):

This unity-in-variety is the Ariadne’s thread that helps lead a way through the labyrinth of Levi’s complete oeuvre. Not all his readers will be willing to follow the thread along all its meanderings; indeed, responses to the Complete Works have already divided somewhat between those willing to listen to the modulated, lighter, more elfin tones in some corners of this volume and those who, perhaps understandably, prefer to split the work into his greater and lesser achievements and pass over his forays into occasional writing, science-fantasy, zoomorphic poetry, and the rest.
The thread is worth following, however. The harmonies and dissonances between the modes of Levi’s work are, to a significant degree, what make him such a distinctive, subtle, and compelling ethical writer, one who ponders how to live in the face of both the extraordinary and the everyday, not through abstractions but through fragments of stories and vignettes of sentient experience and intelligent invention.
The Complete Works facilitates the task by restoring the chronology of publication of Levi’s books.

To sum up, then, let's complete our hat-trick with Michael Dirda in the Washington Post (23/9/15):

For such a gift as The Complete Works of Primo Levi, one should probably do little more than express thanks. The captious, however, might complain that Levi’s autobiographical writings are somewhat repetitive, his essays a bit dry and his fantasy fiction rather labored. Still, these are just cavils. Whether as witness or imaginative artist, Levi stands high among the truly essential European writers of the past century.

With friends like that, who needs enemies? "Repetitive ... dry ... laboured" - these are not bookselling adjectives. Nor is Robert Gordon's mention of the "lighter, more elfin tones" of some of his more fanciful stories particularly enticing.

Primo Levi: The Mirror Maker (1989)

Is it true? Or rather, is there truth in it? I fear so. They're not just making it up out of whole cloth. It isn't all part of an anti-Levi conspiracy. Some of his slighter stories - and there are a great many of them - are a bit ephemeral. Nor does much of his "science-fantasy" reach the dizzying heights of fellow survivor of the Nazis Stanisław Lem.

Primo Levi: The Drowned and the Saved (1986)

It's tempting just to leave the matter there - to conclude that Levi is a writer whose primary value lies in his autobiographical testimony as an Auschwitz survivor, and that the rest is simply window-dressing. Tempting, yes, but fundamentally wrong. The story is much more complex than that.

Primo Levi: Opere Complete (2017)

Opere Complete. Ed. Marco Belpoliti in collaboration with Centro Internazionale di Studi Primo Levi. Introduction by Daniele Del Giudice. 2 vols. 1997. Nuova Universale Einaudi. Torino: Einaudi, 2017.

Vol. I:
1. Se questo è un uomo ('If This is a Man', 1947)
2. Se questo è un uomo (1958) e appendice
3. La tregua ('The Truce', 1963)
4. Storie Naturali ('Natural Histories', 1966)
5. Vizio di forma ('Flaw of Form', 1971)
6. Il sistema periodico ('The Periodic Table', 1975)
7. La chiave a stella ('The Star Wrench', 1978)
8. Appendice [Appendices]
9. Note ai testi [Notes on the text]
Vol. II:
10. La ricerca delle radici ('The Search for Roots', 1981)
11. Lilít e altri racconti ('Lilith and Other Stories', 1981)
12. Se non ora, quando? ('If Not Now, When?', 1982)
13. Ad ora incerta ('At an Uncertain Hour', 1984)
14. Altre poesie ('Other Poems', 1984)
15. L'altrui mestiere ('Other People's Trades', 1985)
16. Racconti e saggi ('Stories and Essays', 1986)
17. I sommersi e i salvati ('The Drowned and the Saved', 1986)
18. Pagine sparse ('Scattered Pages', 1947-1987)
19. Appendice alle pagine sparse [Appendices to the scattered pages]
20. Note ai testi [Notes on the Text]

In 1997, ten years after Levi's death, Marco Belpoliti assembled a two-volume edition of Levi's Complete Works in Italian. This gave readers everywhere a good overview of the basic canon of his works, including scattered articles, poems, and other uncollected pieces.

Ann Goldstein (1949- )

It also inspired American editor Ann Goldstein, more famous as the translator of Elena Ferrante's bestselling Neapolitan Novels, to attempt a more-or-less complete English version of Primo Levi. As Wikipedia puts it:

The effort of obtaining translation rights took six years, while its compilation and translation took seventeen years ... Goldstein oversaw the team of nine translators and translated three of Levi's books.

Primo Levi: The Search for Roots: A Personal Anthology (1981)

The one significant absence from the English edition is the anthology above, which is included in the Italian version. This does make a certain amount of sense. A number of the passages chosen by Levi were originally written in English and other languages, and in cases where the Italian translations diverge from their originals - as they often do - it's a difficult decision whether to correct or simply transcribe the results.

The book is, in any case, already available in a 2001 translation by Peter Forbes.

Which brings us to the question of whether all of these new translations are actually improvements on the original English versions? You'll recall that passage I quoted above, from the end of Chapter 13 of Levi's If This is a Man in Stuart Woolf's 1960 translation? Here it is again in the new 2015 edition:

Primo Levi: Complete Works: I (2015): 123-24.

Silence slowly prevails and then, from my bunk, on the top level, I see and hear old Kuhn praying aloud, with his cap on his head, his torso swaying violently. Kuhn is thanking God that he was not chosen.
Kuhn is out of his mind. Does he not see, in the bunk next to him, Beppo the Greek, who is twenty years old and is going to the gas chamber the day after tomorrow, and knows it, and lies there staring at the light without saying anything and without even thinking anymore? Does Kuhn not know that next time it will be his turn? Does Kuhn not understand that what has happened today is an abomination, which no propitiatory prayer, no pardon, no expiation by the guilty - nothing at all in the power of man to do - can ever heal?
If I were God, I would spit Kuhn's prayer out upon the ground.

There are a lot of small changes here. Kuhn's beret has become a 'cap'; he thanks God that he was not chosen, rather than thanking him because he has not been chosen; he's out of his mind rather than out of his senses; a number of phrases have been shifted around, greatly increasing the number of commas. All these are fairly standard consequences of revisiting a piece of your own prose.

What I did not expect, however, was that change in the last sentence of the chapter. That is significant. This is how it read in 1960:

If I was God, I would spit at Kuhn’s prayer.

And this is how it reads in 2015:

If I were God, I would spit Kuhn's prayer out upon the ground.

Ten cutting, powerful words have become 13, with a subjunctive added and some extraneous 'ground' to spit on, as well ... But then, how does the sentence read in the original Italian?

Se io fossi Dio, sputerei a terra la preghiera di Kuhn.

A literal translation of that would be: "If I were God, I would spit to earth the prayer of Kuhn."

So, much though I personally prefer the first version of Woolf's translation of this sentence, I'm forced to agree that his revised take on it is far closer to what Levi actually wrote.

Primo Levi (1940s)

On the minus side, then, Stuart Woolf is not necessarily a better stylist after fifty years of brooding on the book than he was in his first flush of enthusiasm. On the plus side, though, he has contributed a fascinating afterword to this new edition in which he reveals just how closely he worked with Levi while preparing that original version.

He also explains that the book's long history of revisions and reprintings has necessitated a number of changes simply to keep up with its author's latest intentions. He is, after all, the only one of the original translators of Levi's works to have been asked to re-vision his work for the new edition. It's hard to imagine anyone else having Levi's work so close to his heart.

So, yes, many analogous quibbles could be made about these new translations of Levi's principal works. Many of them are significantly less idiomatic and more pedantic in tone: careful to preserve the original italian idioms and wordplay even when this has the effect of interrupting the narrative or the train of thought.

But that's what comes of declaring him a 'classic'. All of a sudden the tiniest details seem more significant - it's not just a matter of a temporary publishing boom, but rather of providing reliable details for readers and scholars now and in the future.

Something has been lost, but more - I would say - has been gained in the process. After all, those older editions are still in existence. They haven't been superseded by the new super-edition. Speaking personally, though, I think this new Complete Works will be the mainstay of my own Levi reading from now on.

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Art Spiegelman: Maus (1980-1991)

The title of this blogpost was meant as a kind of double-barrelled pun. On the one hand it references cartoonist Art Spiegelman's celebrated graphic novel Maus: A Survivor's Tale, which first appeared, piecemeal, chapter by chapter, in Raw magazine, the comics journal he co-founded with his wife Françoise Mouly, and which was subsequently collected in two volumes: 'My Father Bleeds History' (1986), 'And Here My Troubles Began' (1991).

Jorge Luis Borges: Funes el memorioso (1942)

However, it also makes a nod towards Jorge Luis Borges' great story 'Funes the Memorious', which records the strange fate of one Ireneo Funes, who hits his head in a fall from his horse, and is thereafter cursed to remember absolutely everything which has ever happened to him. He dies shortly afterwards, but first spends a long night describing his plight to the narrator, a somewhat stylised version of Borges himself.

Gustave Doré: The Rime of the Ancient Mariner (1875)

Like Funes, Levi was forced to remember. He had no choice in the matter. And, like Coleridge's Ancient Mariner - a comparison he made himself more than once: in fact it supplied the title for his 1984 book of poems Ad Ora Incerta ['At an uncertain hour'] - he had 'strange power of speech,' as well as a compulsion to seek out listeners.

Since then, at an uncertain hour,
That agony returns:
And till my ghastly tale is told,
This heart within me burns.

I pass, like night, from land to land;
I have strange power of speech;
That moment that his face I see,
I know the man that must hear me:
To him my tale I teach.

Reading this new edition of Primo Levi puts us in the almost unique position of watching a man not bred to the trade in the process of learning how to write. There are the inevitable stumbles and false starts as he moves from the white-hot assurance of his first memoir into the stories and essays which gradually became the mainstay of his life as a modern 'man of letters.'

Those two first volumes of stories, Natural Histories and Flaw of Form, are particularly telling in this respect. The stories are, at times, quite painfully bad - but each one teaches their author something, and gradually they begin to improve. They all have something, some germ of a complex and interesting idea, but it takes some time for him to reach the more sustained accomplishment of a book such as Lilith and Other Stories.

This is a development almost entirely obscured until now by the piecemeal appearance of his fiction in English translation. Four volumes of miscellaneous stories and essays in Italian became a bewildering labyrinth of partial English reprints, translated at different times by very different people. For this alone we should be grateful to the new edition.

Finally, then, I'd have to say that in a case like this I certainly believe that more is better. Would 'a selected works, at half the length for half the price' really 'have served him better', as William Deresiewicz claims in his review above? It might have made Levi seem more of a careful stylist, but I'm not sure that it would have done justice to the more complex and exacting details of his literary legacy.

Primo Levi: If Not Now, When? (1982)

In my case, for instance, having read in Carole Angier's 2002 biography of the lukewarm reception of Levi's one full-length novel, If Not Now, When?, I never even felt tempted to read it until running into it here, in volume 2 of this chronologically arranged edition.

But that would have been a great loss, because it's a wonderfully nuanced and accomplished piece of work. Clearly it was not to the taste of many readers in 1982, who were expecting a repeat of If This is a Man, but that's probably because it's composed more in the style of one of the great classics of European realism.

It echoes Tolstoy's Sebastopol Tales, or Väinö Linna's Finnish war novel The Unknown Soldier - even Jaroslav Hašek's Good Soldier Švejk - far more than the standard-issue Holocaust book that was expected of him. Levi had, in any case, made it clear that he considered the camps an inappropriate subject for fiction. No Boy in the Striped Pyjamas or Life is Beautiful for him.

In any case, readers will now be able to decide any and all such matters for themselves, without the no doubt well-intentioned Bowdlerising tendencies of critics such as Deresiewicz.

Primo Levi (1980s)

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Primo Levi (1930s)

Primo Michele Levi
(1919-1987)

1. If This Is a Man / The Truce. [‘Se questo è un uomo’, 1947/58 / ‘La tregua’ 1963]. Trans. Stuart Woolf. 1960 & 1965. Introduction by Paul Bailey. 1971. Penguin Modern Classics. Harmondsworth: Penguin, 1979.


2. The Periodic Table. [‘Il sistema periodico’, 1975]. Trans. Raymond Rosenthal. 1984. Essay by Philip Roth. Penguin Classics. Harmondsworth: Penguin, 2000.


3. If Not Now, When? [‘Se non ora, quando?’, 1982]. Trans. William Weaver. 1985. An Abacus Book. London: Little, Brown and Company (UK) Limited, 1992.


4. The Wrench. [‘La chiave a stella’, 1978]. Trans. William Weaver. 1986. London: Michael Joseph Ltd., 1987.


5. Moments of Reprieve. [‘Lilìt e altri racconti’, 1981]. Trans. Ruth Feldman. 1986. Introduction by Michael Ignatieff. Penguin Classics. Harmondsworth: Penguin, 2002.


6. Other People’s Trades. [‘L'altrui mestiere’, 1985]. Trans. Raymond Rosenthal. 1986. London: Michael Joseph Ltd., 1989.


7. The Drowned and the Saved. [‘I sommersi e i salvati’, 1986]. Trans. Raymond Rosenthal. 1986. Introduction by Paul Bailey. London: Michael Joseph Ltd., 1988.


8. Collected Poems. [‘L'osteria di Brema’, 1975 / ‘Ad ora incerta’, 1984]. Trans. Ruth Feldman & Brian Swann. 1988. London: Faber, 1991.


9. The Mirror Maker: Stories & Essays. [‘Racconti e Saggi’, 1986]. Trans. Raymond Rosenthal. 1989. London: Methuen, 1990.


10. The Sixth Day and Other Tales. [‘Storie naturali’ (as Damiano Malabaila), 1966 / ‘Vizio di forma’, 1971]. Trans. Raymond Rosenthal. 1990. Abacus. London: Sphere Books Ltd., 1991.


11. The Search for Roots: A Personal Anthology. [‘La ricerca delle radici’, 1981]. Trans. Peter Forbes. 2001. Penguin Classics. Harmondsworth: Penguin, 2002.


12. The Black Hole of Auschwitz. [‘L'asimmetria e la vita: Articoli e saggi 1955-1987’, ed. Marco Belpoliti, 2002]. Trans. Sharon Wood. UK: Polity Press, 2005.


13. [with Leonardo de Benedetti]. Auschwitz Report [‘Report on the Sanitary and Medical Organization of the Monowitz Concentration Camp for Jews (Auschwitz - Upper Silesia)’, 1945]. Trans. Judith Woolf. UK: Verso, 2006.


14. A Tranquil Star. [‘Vizio di forma’, 1971 / ‘Lilìt e altri racconti’, 1981]. Trans. Ann Goldstein & Alessandra Bastagli. 2006. Penguin Modern Classics. Harmondsworth: Penguin, 2008.


15. The Complete Works of Primo Levi. Ed. Ann Goldstein. Introduction by Toni Morrison. 3 vols. Liveright Publishing Corporation. New York: W. W. Norton & Company. Inc., 2015.
    Vol. 1:
    1. If This Is a Man. Trans. Stuart Woolf (1947)
    2. The Truce. Trans. Ann Goldstein (1963)
    3. Natural Histories. Trans. Jenny McPhee (1966)
    4. Flaw of Form. Trans. Jenny McPhee (1971)
    Vol. 2:
    5. The Periodic Table. Trans. Ann Goldstein (1975)
    6. The Wrench. Trans. Nathaniel Rich (1978)
    7. Uncollected Stories and Essays, 1949-1980. Trans. Alessandria Bastagli & Francesco Bastagli (2015)
    8. Lilith and Other Stories. Trans. Ann Goldstein (1981)
    9. If Not Now, When? Trans. Anthony Shugaar (1982)
    Vol. 3:
    10. Collected Poems. Trans. Jonathan Galassi (1984)
    11. Other People’s Trades. Trans. Anthony Shugaar (1985)
    12. Stories and Essays. Trans. Anne Milano Appel (1986)
    13. The Drowned and the Saved. Trans. Michael F. Moore (1986)
    14. Uncollected Stories and Essays, 1981-1987. Trans. Alessandria Bastagli & Francesco Bastagli (2015)

Interviews:


16. [with Tullio Regge]. Conversations. ['Dialogo', 1984]. Trans. Raymond Rosenthal. 1989. Introduction by Tullio Regge. Harmondsworth: Penguin, 1992.


17. The Voice of Memory: Interviews, 1961-1987. [‘Conversazioni e interviste 1963–1987’, ed. Marco Belpoliti, 1997]. Ed. & Trans. Robert Gordon. 2001. New York: The New Press, 2001.

Secondary:


18. Anissimov, Myriam. Primo Levi: Tragedy of an Optimist. 1996. Trans. Steve Cox. 1998. London: Aurum Press Ltd., 1999.


19. Angier, Carole. The Double Bond: Primo Levi, A Biography. 2002. Harmondsworth: Penguin, 2003.


20. Thomson, Ian. Primo Levi. 2002. Vintage. London: Random House, 2003.


21. Luzzatto, Sergio. Primo Levi's Resistance: Rebels and Collaborators in Occupied Italy. 2013. Trans. Frederika Randall. Picador / Metropolitan Books. New York: Henry Holt & Company, LLC, 2016.

Martin Argles: Primo Levi

Michele 2021

Michele Leggott with Olive

Wikipedia informs me that there's now a specific term for a Festschrift compiled and published by electronic means on the internet. It's called a Webfestschrift.

They also state that this German word has been naturalised so thoroughly into English that it no longer requires italics. But what exactly does it mean? I've defined it, in context, as a "write of celebration" - a series of essays or (as in this case) poems and short memoirs designed to mark the retirement of a great writer or scholar.

Since January I've been working - with the help of many friends and contributors - on a Festschrift to celebrate the life and work of New Zealand poet Michele Leggott on the occasion of her retirement from the University of Auckland. That site went live yesterday, on Michele's birthday.

Here's a link to it, along with a table of contents:

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Michele Leggott: DIA (1994)

Michele 2021
A Birthday Festschrift for Michele Joy Leggott

(January 19 - October 18, 2021)

Jack Ross: Preface: October 18, 2021
About Michele


1. John Adams: Michele, reading
2. Rachel Blau DuPlessis: Dateline: Michele, in eight moments
3. Pam Brown: mezzo cento
4. Ruby Brunton: And Still the Earth is Round - Poem for Michele
5. Janet Charman: haiku
6. Lynley Edmeades: Listening In
7. Frances Edmond: For Michele’s festschrift
8. Martin Edmond: Michele Leggott
9. Murray Edmond: After Gilgamesh: for michele
10. Sue Fitchett: Homage to Michele Leggott who cured a comma addiction
11. Paula Green: out of the dark
12. Bernadette Hall: on adding up the loves of our lives
13. David Howard: VIEW FINDER
14. Bronwyn Lloyd: Adventures in the Archives
15. Therese Lloyd: Regift
16. Cilla McQueen: Poet-to-Poet
17. John Newton: Big Projects for Poetry (& Criticism)
18. Tim Page: Michele Festschrift
19. Mary Paul: Rā whānau ki a koe, Michele
20. Chris Price: Works and Days
21. Jack Ross: The Gulf
22. Lisa Samuels: Joy Division
23. Tracey Slaughter: is there a goddess for this?
24. Penny Somervaille: Dear Michele
25. Helen Sword: Walking with Michele
26. Fredrika van Elburg: Working with Michele
27. Ann Vickery: Floating Largesse
28. Susannah Whaley: Festschrift
29. Michael Whittaker: My path to Michele
30. Joanne Wilkes: Michele Leggott

Michele Leggott: Heartland (2014)

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It's been great fun working on this project. By its very nature it had to be hush-hush, and I was very happy to learn from Michele yesterday that we had indeed succeeded in keeping it secret. Even people she was in touch with every day had managed to avoid dropping any hints.

Of course, it contains contributions by only a few of the people who would like to celebrate and remember Michele's influence on them. In that sense it's a start rather than a full-stop to a consideration of her career to date. Now she's retired from Academia, there'll be that much more time to work on her own projects and interests exclusively in future!

I hope you enjoy browsing through the various pieces we've included. The site includes a pictorial breakdown of Michele's publications (both print and online) which may come as quite a surprise to some. She's really had an extraordinary influence on many, many aspects of New Zealand culture over the past three or four decades.

There's certainly space for a more complete listing of her articles and shorter pieces, but I leave that for someone else in the future. This project was intended from the start to be more personal and less academic in focus, and hopefully that will make it more accessible to poetry-lovers everywhere.

Michele Leggott: Mezzaluna: Selected Poems (2020)

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