Evelyn waugh and erle stanley gardner

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Volume 4 Number 3 - Winter 1970


Alfred Borrello
Shortly after I began to work on my critical study of the English novelist, Gabriel Fielding, I realized that I could not proceed without extensive work in the files of his American publisher, William Morrow and Company. I wrote for the necessary permission and, by return mail, it was mine. A member of the editorial staff, Mr. John Shinn, had been placed at my disposal, and it was through his ever available help that my work proceeded.
But something more than a rapid and expeditious movement of my research accrued from my association with Mr. Shinn. Several long, discursive, but highly interesting and instructive talks brought to light, among other things, Fielding's deep interest in Evelyn Waugh and his novels. These talks confirmed that interest I saw glimmering among the letters Fielding had written to his editor. I learned that he had sent his early novels to Waugh who praised them and predicted their success. I hope to develop what I have discovered into an article detailing the Waugh-Fielding relationship for a future issue of EWN.
Some other, equally interesting, information come out of our talks, this time over a very delicious luncheon Mr. Shinn had invited me to. We talked again of Waugh, Fielding and other matters, but we also talked of writers Morrow publishes, notably Erle Stanley Gardner. I was, of course, familiar with Waugh's remark about Gardner and questioned Mr. Shinn about it. The questions stirred his memory of having seen some correspondence which had passed between the two writers. That correspondence he was certain was initiated by Waugh.
I wanted very much to see those letters (he had no precise memory of how many there had been) and, over our mousse chocolat, told Mr. Shinn so. He graciously consented to institute a search for them but indicated that it was the policy of the firm to turn over to the authors letters received for them. I let the matter rest at this point and fixed my attention on completing my book on Fielding and other projects which left very little time for other interests.
Several months after my initial discussion of the Waugh-Gardner correspondence, I had occa­sion once again to visit with Mr. Shinn. He remembered my interest and indicated that the search had proved fruitless. He urged me to write directly to Mr. Gardner who, at that time, was va­cationing in Hawaii. I did, and shortly I received the following:
Rancho del Paisano

Temecula, California

July 29, 1968
Dear Mr. Borrello:

Thanks very much for your letter of July 3rd.

I wish that I could be of some material help to you, but I doubt that I can.

When Mr. Waugh was in this country he made a statement to the effect that I was America's best author, or something of that sort, and I don't think the critics were entirely certain whether he was referring sarcastically to the fact that I enjoyed the largest number of sales in the book field, or whether he really meant what he said.

I did a little investigating and came to the conclusion that he really meant what he said.

Later on we had some correspondence with an Evelyn Waugh at Combe Florey, Near (sic) Taunton, England.

I have no means of knowing whether this is the distinguished author or not. He complained about the use of the word davenport in my stories as being incorrect in the sense in which I used it. We did a little research and showed him that the word had two meanings, one in England and one in the United States.

That's the extent of my correspondence.

I am enclosing a copy of the Waugh letter.

I would be interested in knowing whether this is the author or some other person with the same name.

Combe Florey House

Combe Florey

Nr. Taunton

21 July 1960

Dear Mr. Gardner,

May I, as one of the keenest admirers (italics mine) of your work, correct what I at first took for a slip but now realize must be genuine misconception?

You seem to think that a 'davenport' is one kind of sofa. It is, and can only be, a small writing desk.

Are you, perhaps, confusing it with a 'Chesterfield'?

Yours truly,

Evelyn Waugh

Gardner also included a copy of his reply to the Waugh letter.
September 12, 1960

At Paradise, California

Dear Mr. Waugh:

Your letter of July 21st sent to me care of my publishers, and answered on August 16th by them, has been forwarded to me.

Apparently the question of the davenport has been answered as well as it can be answered by the editor who wrote you, but if you are the Evelyn Waugh who wrote that wonderful expose of Hollywood (The Loved One), and apparently you are, I just want to tell you what an honor it is to hear from you and to think that you are reading my books.

You have the greatest gift of satire I have ever encountered, and that means philosophical perspective and writing ability of a high order.

My salute to you, Sir.

I wrote thanking Gardner for forwarding the correspondence and indicated that the "Evelyn Waugh of Combe Florey:” was indeed the writer of the "expose of Hollywood." I also requested permission to publish the correspondence in EWN which was quickly and graciously given. His note arrived after I had returned from England and my visit to Combe Florey (see: EWN, Winter 1968).

I wrote Mrs. Waugh telling her of what I had received from Gardner and asked to what extent her husband was a devoted reader of his mystery stories. Her reply was direct: Waugh had read everything that Gardner had written. Apparently, Waugh's interest in Perry Mason spread to his family. Evidence of it shows clearly in Auberon Waugh's fourth novel, Consider the Lilies, in which the central figure, Nicholas, reads The Case of the Footloose Doll with obvious relish. Nicholas, a modern clergyman, is distracted from his reading by his wife, Gillian, whom he considers a “pompous bully" like Hamilton Burger, Mason’s nemesis. He longs to shout at her interruption which he finds "incompetent, irrelevant, and immaterial" but realizes that he, unlike Perry Mason, has no judge to rule "objection sustained."
At this point, I left the matter of the correspondence, Waugh's remark, and his interest in Gardner's books. When the news of Gardner's death was announced (March 11, 1970), I thought that the time had arrived not only to publish the letters but also to publish what I believe they reveal about Waugh and his work.
I feel that all too many are eager to accept Waugh's remark about Gardner as facetious com­mentary from a great man who took pleasure in demolishing the accomplishments of a nation for which he had no great regard. This may, in part, be the case. It is manifest that Waugh had no great love for America and the writers she produced, but there is another aspect to his remark that needs explanation. It is this aspect which leads me to believe that Waugh in the remark - as Gardner discovered in his investigation - was formulating consciously or unconsciously more than a well-turned phrase for publication.
There is ample evidence that Waugh was a superior craftsman. Mrs. Waugh, in her conversation with me (see: EWN, Winter 1968) noted how he agonized over his writing. We have positive evidence of this effort in the novels he revised. Recently (December 8, 1969), Anthony Burgess in a lecture (at the YMHA, 92nd Street, New York City) pointed out the superior quality of Waugh's craftsman­ship which attracted Burgess to his works. That this admiration for, devotion to, or better yet, love of fine craftsmanship extended beyond Waugh's own writing is amply evidenced by what I saw of his home: a well and sturdily wrought building filled with pictures of a period, the Victorian, when meticulous craftsmanship was clearly the path to financial success for the artist, and with furniture he collected, especially the dining room furniture, richly carved and silently praising the craftsmen, who produced it. Even his relationships with his family, some of which I learned from Mrs. Waugh's discussion and some from talks I had with his sons, bespeak Waugh's absorption in craft, albeit on a different level.
Is it, therefore, out of character that Waugh should be attracted to and take delight in the work of another author who is, though some may doubt that he is anything else, a superb craftsman? One has only to read Perry Mason's adventures in any of the novels in which he appears to realize that the author knows what he is about. Perhaps Waugh saw in Gardner’s ability to craft his materials what he failed to perceive in most American authors of the period who tend to substitute enthusiasm and erratic emotionalism for fine craftsmanship. At any rate, in calling himself Gardner’s "keenest admirer" Waugh produced a "fan" letter the likes of which is rarely if ever, encountered in his correspondence.


Gene D. Phillips (Loyola University, Chicago)
Because Waugh so lavishly and so patiently filled in all of the details on the broad canvas which ­he devised for his Sword of Honour trilogy, the trilogy resists easy translation to another medium. The 1967 BBC-TV presentation of the trilogy (in three ninety-five minute segments) was a "glorious failure" according to one critic, because the subtleties of character and motivation in the original trilogy were inseparable from the subtleties of Waugh's writing; therefore the characters and their actions become oversimplified on transference to the TV screen.
After recently viewing the TV version of Sword of Honour in its entirety through the kindness of BBC-TV, however, I personally feel that a surprising amount of the flavor of Waugh's original work has been preserved in the late Giles Cooper's literate TV script. Waugh looked over the script shortly before his death, says Mrs. Waugh, and he seemed pleased with it. The series was screened only a few months after Waugh's death, in January, 1967, and repeated in December of the same year.
Cooper used much of the original dialogue from the novels and was at pains to include material that pertained to the theme as well as to the plot of the trilogy, such as Guy's reflections at Mr. Crouchback's funeral and Ludovic’s speech about his officer's state sword. Indeed I believe that the TV version of Sword of Honour is the best adaptation to the screen of any Waugh novel to date. It is therefore unfortunate that the many admirers of the trilogy outside of England have not had the opportunity to see it, and I describe it here in some detail for their benefit.
Men at Arms begins with a shot of Guy (Edward Woodward) walking through the little Italian village of Santa Dulcina where he has lived in relative seclusion since he was divorced by Virginia (Vivien Pickles). Over the sound track we hear the voices of gossipers as if at a cocktail party who quickly fill the viewer in on Guy's background and situation at the opening of the story. Guy then visits the tomb of Sir Roger and offers his brief prayer for himself and his country before going off to join the service at the outbreak of World War II. Some of the dialogue in the script is taken directly from the novels; for example, Guy's remarks to the chaplain about the reality of the super­natural order and Virginia's indignant speech to Guy when she discovers that the latter has tried to seduce her at Claridge's only because he feels that he is still married to her in the eyes of the Catholic Church. These passages and others as well work surprisingly well in the dramatic context of the TV adaptation, proving again that Waugh is a master of dialogue in any medium.
Since the trilogy was filmed for the most part in the BBC studios, director Donald McWhinnie has made deft use of newsreel footage from World War II in order to give the flavor of the war that is affecting the lives of all of the characters in the story. The real star of the first segment of the trilogy is Ronald Fraser, who is absolutely beguiling as Guy's fellow junior officer, the roguish Apthorpe. Indeed, viewers unfamiliar with Waugh's original story complained when Apthorpe was "killed off" at the end of the first installment. Edward Woodward did not mind in the least that Apthorpe stole the show in the Men at Arms section of the trilogy, for Apthorpe stands out in the original novel as well. In addition, says Woodward, "Guy Crouchback is like a mirror reflecting all the attitudes and feelings of the characters around him. He mustn't dominate the scene, but at the same time he mustn't lose his identity." And indeed he does not in Woodward's nuanced performance.
The second part of the trilogy begins with newsreel shots of a 1940 air raid which nicely approximate the opening of Waugh's second volume. Trimmer's "Operation Popgun" is briefly dramatized, but the full irony of the event becomes clear when Ian Kilbannock, the military press officer, counterpoints the reading of the romanticized description of the escapade which he has composed for popular consumption with his sardonic asides about what really happened.
Guy's father makes relatively few appearances in the TV version of Sword of Honour and yet he still comes through as an inspiration and example to Guy. Thus when Guy contemplates his father's coffin, we hear Crouchback, Sr.'s voice on the sound track repeating the remarks he had made earlier to Guy about God's Providence.
To lighten the increasingly somber tone of the final section of the trilogy, Cooper includes a couple of charming conversations between Virginia and Guy's Uncle Peregrine as Virginia gradually becomes drawn to joining the Church in the wake of her reconciliation with Guy. In their last scene together they hear a doodle bomb overhead, look at each other, make the Sign of the Cross, and the scene abruptly shifts to Guy reading a telegram about their deaths. This episode is an excellent example of the economy with which the script has been worked out.
Since Guy's sojourn in Yugoslavia is so important to the theme of the trilogy, however, it is presented in some detail, including the speech of the Jewish refugee Mme. Kanyi which makes Guy realize that his practice of social charity and not the vindication of his personal honor must be the norm for judging the success of his military career.
The TV trilogy ends much as the original story does, with Guy's brother-in-law Arthur Box-­Bender telling his friends at his club what has happened to Guy and the others since the end of the war. As he mentions Ludovic, however, we cut to a shot of Ludovic wandering through Santa Dulcina to the tomb of Sir Roger just as Guy had done at the beginning of the first TV segment of Sword of Honour, thus indicating that Ludovic has ended with all of the romantic illusions that Guy had at the beginning.
All in all, Sword of Honour as presented by BBC-TV is an enjoyable and rewarding experience. It is unfortunate the Giles Cooper was killed in a fall from a train shortly after completing the trilogy script, since he would have been the logical choice to adapt other Waugh works to the screen. In the event, his intelligent script, Donald McWhinnie's thoughtful direction, and uniformly excellent acting by the entire cast make Sword of Honour a fitting rendition of a brilliant novel.


Paul A. Doyle
Boston University Library is the repository for a wide variety of Alec Waugh material -­ typescripts, letters, notes, etc., and much data relating to his father and mother. Among these materials are Arthur Waugh's diaries, which have been surveyed for a subsequent article about Waugh, and thirteen epistles from Evelyn to his brother. Most of Evelyn's letters to Alec are still in the latter's possession and will, according to comment made in My Brother Evelyn and Other Portraits, eventually be edited and made available by Alec. In the meantime, a synopsis of the thirteen letters in the Division of Special Collections at Boston University Library is provided, and I laud Dr. Howard B. Gotlieb, Chief of Special Collections at Boston University, for his kindness and sympathetic cooperation.


2pp. Piers Court, n.d. (1939?). To Alec Waugh. Evelyn mentions the Chez Victor in Grafton Street. Until it was closed and Victor deported for sale of drugs this was without question the leading night club. His memory vague on dates, but thinks the Night Light, "very respectable, was open then. Also the Florida, the Bat, etc.2” "Noel Coward opened one in Soho called 50-50 about that time." Evelyn lists other night clubs. "But Victor's stood quite alone"-- the only meaningful small night club. (Alec's appended note: I was writing a story called 'The Heart of a Crooner.’ It came out in 'The Sunlight Caribbean' 1948 but I wrote the story in 1939 -- I suspect this letter was written then.)


2 pp. White's, July 4, 1944. To Alec Waugh. Evelyn is going off to the Balkans. Alec has asked Evelyn for the latter's opinion of His Second War. Evelyn feels the book could be improved by not playing about with the time sequence, i.e. time shifting (This technique is all right for Virginia Woolf). Evelyn does not like the use of the third person when "I" is more suitable, and also does not approve of "slang unfamiliar and uncongenial to me.” Evelyn concludes: "But these are small complaints with a book I thought eminently topical, full of interest to those thousands who have curiosity about the routine of other people's lives.”


2 pp. Piers Court, January 18, 1949. To Alec Waugh. Has received Alec's new book. "The photograph of you on the back of the wrapper is most alarming. You look as though you were being third-degreed for UnAmerican activities - and were guilty.” Urges Alec to recommend to his literary friends The Month, "a new counterblast to Horizon in which I am interested.‘


2pp. Piers Court, January 20, 1950. To Alec Waugh. Thanks Alec for sending The Lipton Story; likes it and wishes it success. "You love the Yanks better than I do, but am doubtful whether you will please as much by your ingenious pastiche of their idiom, as you would have done with the King's English for which I believe they have a wholesome respect.” Included are 2 separate pages of proof corrections which have escaped Alec's and his publisher's attention; e.g. "p.62. line 4 from bottom for 'kilts' read 'a kilt.'" "p. 191. l. 20 for 'a factual' read 'an actual.’” “p. 245. l. 8. Very obscure. Does 'it' refer to base or cup?" Evelyn adds: 'I am a very careless proofreader myself. There are probably many mistakes I missed."


1p. Piers Court, March 11. n.y. (1953?) To Alec Waugh. Sends thanks for receiving Alec’s Guy Renton. Hopes it has a good sale.


Combe Florey, no address, n.d. (c. 1958?) To Alec Waugh. Evelyn is delighted that Alec wishes to quote him about wine. "Your publishers should send a small fee to the fund of which I enclose particulars." Auberon very ill; he must undergo two major operations.


1 p. Combe Florey, September 28, 1959. To Alec Waugh. Is delighted with Alec's book In Praise of Wine. The book has many misprints but not so many as in his own life of Ronald Knox. Wonders if Alec knows the anecdote about Alcuin returning to Britain from Gaul in .the eighth century and saying that it was delightful to be back in a country where you could get a good glass of wine.


1 p. Combe Florey, June 23, 1960. To Alec Waugh. Thanks Alec for sending a copy of his latest novel (Fuel for the Flame). Enjoyed Alec's visit and wished that he could have stayed longer.


2 pp. Combe Florey, March 22, 1961. To Alec Waugh. Thanks Alec for sending My Place in the Bazaar. Likes the book. Is surprised to hear you lived in the twenties among footballers and professional people. My memories are quite different: chic dinners, the Caves of Harmony, full dress parades, etc. Your nephew Auberon has become engaged. Hope you return from Jugoslavia in time for the wedding. His fiancée’s name is Teresa Onslow. "I don't know her well but I think he is fortunate."


2 pp. Combe Florey, July 12, 1961. To Alec Waugh. Sends belated birthday greetings. Would like to meet Alec so that they can compare notes on their autobiographies, avoid repetitions, etc. Wonders if Alec's are personal memories or family history and if he will chronicle our father's career. "I have not set pen to paper yet" so would like to know what common ground Alec will cover.


2pp. Combe Florey, July 19, 1961. To Alec Waugh. Thanks Alec for the preview of The Early Years of Alec Waugh. It has helped me in planning my own chronicle, was interesting and a pleasure to read. Notes that his own "Curse of the Horse Race" did not appear in the Pistol Troop Magazine. Wonders if it is right to receive communion in Anglican Church when you repudiate its doctrine and moral teaching. Serious Anglicans may regard these communions as sacrilegious. Evelyn is delighted that Alec's Early Years will be a precursor of other memoirs.


Combe Florey, n.d., but postmarked July 31,1961. To Alec Waugh. Auberon and his wife thank you for the dinner. Evelyn consulted Teresa (Auberon's wife), "who is a devout Anglican, and she said serious Anglicans would be offended by someone receiving the sacraments without believing in the religion.”


1 p. Combe Florey, August 31, n.y. (c. 1962?) To Alec Waugh. Thanks Alec for sending a copy of The Early Years of Alec Waugh and "Thank you again for the kind references to myself." Recommends reading Naipaul's Middle Passage, one of the best books about the Caribbean he has seen. Notes that Alec is invited to attend the wedding of his daughter Margaret on Octo­ber 20.


Robert Murray Davis (University of Oklahoma)
The following list derives from the files of manuscripts and clippings in the Evelyn Waugh Collection at the Academic Center Library of the University of Texas-Austin. All available infor­mation is given in the hope that the items can be more fully identified for the catalogue of the collection.
A. Manuscripts
Untitled appeal for aid for St. Joseph's Home, Edmonton. Manuscript. St. Joseph's is a home for incurables in its sixteenth year of operation, maintained by the Sisters of Charity of St. Vincent de Paul. This may be notes for a broadcast.

Untitled article on The First Hundred Thousand by Ian Hay. Manuscript. Probably written in the 1950's while he was at work on the Knox biography.

"The Metamorphosis of Miss Mitford.” Carbon. Review of an unnamed book about Paris or at least about France.

Review of Edith Stein by Sister Teresia de Spiritu Sancto. The book was published in 1952.

"A True Father in God," clipping; the same, titled "Pius XII: Autumn 1944" in manuscript. One page of the manuscript has 4 lines cancelled on P.G. Wodehouse. Published on the day on which Requiem Masses are being said for Pius - that is, after October 9, 1958.

"The Hopeful Pontiff / Pope John XXIII / by Evelyn Waugh." Manuscript. After John's death.

"For the Observer." Manuscript, review of Noel Annan, Roxburgh of Stowe, published in 1965.

B. Clippings only
"The British Campaign in Abyssinia," clipping of review of G.L. Steer, Sealed and Delivered: A Book on the Abyssinian Campaign. London: Hodder and Stoughton, 1942.

"The Hospitality of Campion Hall," clipping of speech given just before the golden jubilee of Campion Hall's foundation, which fell on October 29, 1946.

"Mr. Waugh on the Catholic Novelist," Duckett's Register, p. 3. Clipping of a letter about W.R. Titterton's G.K. Chesterton, just reprinted by Douglas Organ (1948).

"These Roman Scandals." Clipping of article on La Dolce Vita (1960).


Paul A. Doyle, Winnifred Bogaards, and Robert M. Davis

Over two years ago I asked Charles Linck if he wished to collaborate on a Waugh supplemental bibliography. Such a work was intended to supplement his bibliography of Waugh's early years and my checklist which carried to 1956. Dr. Linck, whose special bibliographical interest is the early period, replied that he was compiling a supplementary list but that he did not wish to go beyond 1939. Accordingly, I set out to compile a bibliography of Waugh's writing from 1940 to 1966 which would include not only new entries but also material omitted from my first Bulletin of Bibliography list. In the meanwhile two other Waugh scholars, Dr. Bogaards and Dr. Davis, were gathering separate bibliographies. Since we were actually covering the same ground and duplicating much material, we ultimately agreed for purposes of this bibliography to combine our findings. Conse­quently for the 1940-66 period, a Waughian would need only my original Bulletin of Bibliography list plus the present EWN bibliography. Then we happened on D. Paul Farr's supplemental bibliography of Waugh for the 1930's to the 1960's (Bulletin of Bibliography, XXVI (July-Sept 1969), 67-68, 87). Professor Farr had discovered five items not on our 1940-66 list - two letters, the article in The Pan Book of Wine and two book reviews in The London Magazine for 1960. However, since we had found many additional entries we decided that his work would not interfere with ours. Farr's bibliography is especially helpful for bringing to wider attention Waugh's reviews for Night and Day (these items are also included in Charles Linck’s unpublished doctoral dissertation).

This present bibliography does not claim to be complete. One suspects it will be many years before any Waugh bibliography can be called definitive. Nevertheless, we feel this present check­list will be of immense value.
Finally, I must express gratitude to Alan Clodd, who checked several items for me in England and who has always been willing to help with his considerable knowledge of Waugh. I also thank Rev. Robert Hurley, who gave me entree to a seminary library where I could check several difficult­-to-locate issues of the London Tablet. Also William English's help in checking several of the London Sunday Times entries is deeply appreciated. (P.A. Doyle)
1. Novels

The Ordeal of Gilbert Pinfold. London: Chapman and Hall, 1957; Boston: Little, Brown, 1957.

Brideshead Revisited. A Revised Edition with a New Preface. London: Chapman and Hall, 1960.

Unconditional Surrender. London: Chapman and Hall, 1961; In the United States published as The End of the Battle. Boston: Little, Brown, 1961 (Dated 1961 but actually published in Jan 1962). The second edition of both books contains important textual changes (cf. Bogaards, EWN (Autumn 1970), pp. 6-7.)

Decline and Fall. A Revised Edition with a New Preface. London: Chapman and Hall, 1962.

Black Mischief. A New Edition with a New Preface. London: Chapman and Hall, 1962.

Basil Seal Rides Again or The Rake's Regress. London: Chapman and Hall, 1963; Boston: Little, Brown, 1963. There is some question whether this should be considered a novelette or a short story.

A Handful of Dust. A New Edition with a New Preface. London: Chapman and Hall, 1964.

Scoop. A New Edition with a New Preface. London: Chapman and Hall, 1964.

Sword of Honour. A Final Version of the Novels: Men at Arms (1952), Officers and Gentlemen (1955), and Unconditional Surrender (1961). London: Chapman and Hall, 1965; Boston: Little Brown, 1966. Both volumes contain the same preface written for this recension.

Vile Bodies. A New Edition with a New Preface. London: Chapman and Hall, 1965.

The Loved One. A New Edition with a New Preface. London: Chapman and Hall, 1965.

Put Out More Flags. A New Edition with a New Preface. London: Chapman and Hall, 1967.
2. Travel Book

Tourist in Africa. London: Chapman and Hall, 1960; Boston: Little, Brown, 1960.
3. Biography

Ronald Knox. London: Chapman and Hall, 1959; entitled Monsignor Ronald Knox in America-­Boston: Little, Brown, 1959.

Edmund Campion. Third Edition. London: Longmans, 1961. This third edition contains the preface of the Second Edition (London, 1947). This preface differs somewhat from the "Author's Note' in the first English edition (London, 1935). The prefaces to the first and second editions differ slightly from the preface to the American edition (Boston, 1946). This third edition also contains newer material.
4. Autobiography

A Little Learning. London: Chapman and Hall, 1964; Boston: Little, Brown, 1964.
5. Poem

"Stainless Stanley," Spectator, CXCVIII (May 31, 1957), 700.

6. Introductions to Books

"Introduction" to Christie Lawrence, Irregular Adventure. London: Faber and Faber, 1947, pp. 11-13.

"Foreword" to Thomas Merton, Elected Silence. London: Hollis and Carter, 1949, pp. v-vi. Waugh also served as the editor of this book.

"Foreword" to Thomas Merton, Waters of Silence. London: Hollis and Carter, 1950, no p. number indicated. Waugh also served as the editor of this book.

"Foreword" to William Weston, The Autobiography of An Elizabethan, trans. Philip Caraman. London: Longmans, Green and Company, 1955, pp. vii-viii.

"Introduction" to Ronald Knox, A Spiritual Aeneid. London: Burns and Oates, 1958, pp. v-ix; New York: Sheed and Ward, 1958, pp. v-ix.

"Preface" to Earl of Wicklow, Fireside Fusilier. Dublin: Clonmore and Reynolds, 1958, pp. vii-viii

"Preface" to Eric Newby, A Short Walk. Garden City, N.Y. Doubleday, 1959, pp. 11-12.

"Preface" to Ronald Knox, Proving God: A New Apologetic. London: The Month, 1960, p. 7.

"Preface" to Hilaire Belloc, Advice. London: Harvill Press, 1960, p. 7.

"Commentary" in T .A. Mclnerny, The Private Man. New York: Ivan Obolensky, 1962, pp. vii-xiv

"Preface" to Anthony Carson, Travels, Near and Far Out. New York: Pantheon, 1963, pp. v-vi.

“Preface" to John Galsworthy, The Man of Property. Mt. Vernon, N.Y.: A. Colish for the Limited ­Editions Club, 1964, pp. v-viii.

"Preface" to Daphne Fielding, The Duchess of Jermyn Street: The Life and Good Times of Rosa

Lewis of the Cavendish Hotel. London: Eyre and Spottiswoode, 1964, pp. 5-6; Boston: Little,

Brown, 1964, pp. 3-4.

"Preface" to Alfred Duggan, Count Bohemond. London: Faber and Faber, 1964; New York: Pantheon, 1965, pp. 5-7.
7. Book Reviews

"The Writing of English," (review of The Reader Over Your Shoulder). Tablet, CLXXXII (July 3, 1943), 8-9.

"Marriage a la Mode - 1936,” {review of Casanova's Chinese Restaurant). Spectator, CC IV (June 24, 1960), 919.

"Literary Musings,” (review of The Sign of the Fish). Spectator, CCV (July 8, 1960), 70.

"Book Reviews,” (review of A Rose By Any Other Name). London Magazine, VII (September 1960), 76-77.

"The Only Pre-Raphaelite," (review of My Grandmothers and I). Spectator, CCV (October 14, 1960), 567.

"An Important Publication,” (review of The Occasional Sermons of Ronald Knox). Spectator, CCV (November 25, 1960), 858-859.

"Book Reviews,” (review of Don't Tell Alfred). London Magazine, VII (December 1960), 65-68. "An Heroic Churchman: In the Shadow of Newman," (review of Father Faber). Sunday Times, Mag. Sect., January 29, 1961, p. 27.

"Caveat Emptor," (review of Three Thousand Years of Deception in Art and Antiques). Spectator, CCVI (March 3, 1961), 300.

"British Worthies," (review of Who's Who 1961). Spectator, CCVI (March 24, 1961), 415.

"Chesterton,” (review of Chesterton: Man and Mask). National Review, X (April 22, 1961), 251-252.

"Cornucopia," (review of The Adonis Garden). Spectator, CCVI (June 23, 1961), 928.

"Threatened Genius: Difficult Saint," (reviews of Voices at Play and Blessed and Poor). Spectator, CCVII (July 7, 1961), 28-29.

"Footlights and Chandeliers," (review of The Wandering Years). Spectator, CCVII (July 21, 1961), 96-97.

"Delights of Dieppe," (review of Pigtails & Pernod). Sunday Times, Mag. Sect., September 10, 1961, p. 25.

"Five Years Hard," (review of Grace and Favour). Spectator, CCVII (October 20, 1961), 55l.

"Last Steps in Africa," (review of In Search of a Character). Spectator, CCVII (October 27, 1961, 594-595.

"Bioscope," (review of The Kindly Ones). Spectator, CCVIII (June 29, 1962), 863-864.

"Literary," (review of The Middle Passage). Month, XXVIII, ns (November 1962), 304-305. "Collectors' Pieces," (review of Victorian Furniture and Nineteenth Century English Furniture). Spectator, CC IX (October 19, 1962), 599-600.

"Choice of the Month," (review of William Rothenstein). Month, XXIX, ns (January 1963), 42-43.

"Embellishing the loved ones," (review of The American Way of Death). Sunday Times, Weekly Review, September 29, 1963, p. 36.

"The Light That Did Not Wholly Fail," (review of Kipling's Mind and Art and Aspects of Kipling's Art), Sunday Times, Weekly Review, March 22, 1964, p. 35.

"The Man in the Mask," (review of Max and Letters to Reggie Turner). Sunday Times, Weekly Review, November 8, 1964, p. 49. Reprinted as "Max Behind the Mask," Atlas, IX (January 1965), 47-49.

"The Spirit of Edith Sitwell," (review of Taken Care Of). Sunday Times, Weekly Review, April 4, 1965, p. 30.

"Oxford Revisited," (reviews of Victorian Oxford, The Oxford Union, and Oxford). Sunday Times, Weekly Review, November 7, 1965, p. 53

The Evelyn Waugh Newsletter, designed to stimulate research and continue interest in the life and writings of Evelyn Waugh, is published three times a year in April, October, and December (Spring, Autumn, and Winter numbers). Subscription rate for libraries and interested individuals: $2.50 a year (22 shillings in England). Single copy 90 cents. Checks or money orders should be made payable to the Evelyn Waugh Newsletter. Notes, brief essays, and news items about Waugh and his work may be submitted, but manuscripts cannot be returned unless accompanied by a stamped, self-addressed envelope. Address all correspondence to Dr. P.A. Doyle, c/o English Department, Nassau Community College, State University of New York, Garden City, New York 11530.

Editorial Board



 P.A. Doyle

 Associate Editors:

 Alfred W. Borrello (Kingsborough Community College)


 James F. Carens (Bucknell University)


 Robert M. Davis (University of Oklahoma)


 Heinz Kosok (University of Marburg)


 Charles E. Linck, Jr. (East Texas State University)

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