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Lady Ottoline Morrell was the foremost host of the Bloomsbury set, offering sustenance and friendship to Virginia Woolf, Vanessa Bell, TS Eliot, DH Lawrence, Duncan Grant and her lover Bertrand Russell, to name but a few. This book is a revised and updated edition of the author's original biography of Ottoline first published in 1975 worldwide. It has been updated, with vignettes about her sources, including lunch at ?xml:namespace prefix = st1 ns = "urn:schemas-microsoft-com:office:smarttags" / Charleston with Duncan Grant, and a ship's tumbler of sherry with David Garnett as a prelude to discussing "skeletons in Ottoline's cupboard"). Her sources in Texas where she read more than 8,000 letters to Ottoline including 2,500 letters from Bertrand Russell, can now be located in new footnotes. Darroch remains as impressed as ever by Ottoline's courage and determination to forgo the comfortable life of an aristocrat to mix with – and champion – some of the 20th century's leading artists and writers. The definitive biography.
'A kind of blissography, teeming with bon mots' Sunday Times A celebrated modern classic that has revolutionised our understanding of the Bloomsbury group and remains the definitive biography of the group's gloriously eccentric patron, Lady Ottoline Morrell. Met with widespread acclaim and translated into fifteen languages, this seminal book provoked a rethinking of the traditional Bloomsbury narrative and the rewriting of some major biographies. For decades, Ottoline Morrell was grossly misunderstood. The artists and writers who benefited from her generous patronage and friendship helped to create the false and vicious image of a nymphomanical aristocrat with cultural aspirations. This landmark literary biography presents Morrell in an entirely new light, rightly setting her centre-stage as the brilliant and courageous lynchpin of the Bloomsbury group. She counted T.S. Eliot, Aldous Huxley, D.H. Lawrence, Lytton Strachey, Siegfried Sassoon, Augustus John, Katherine Mansfield and W.B. Yeats among her closest friends and houseguests. A legendary and agonisingly protracted love-affair with Bertrand Russell never undermined this unlikely couple's deep and understanding friendship. Ottoline's loyalty to her own promiscuous husband survived public humiliation and private crises. Overhauling the long-held conventional view of Morrell as a victim, a creature of her class who was born to be exploited and derided by her wittier friends, Seymour repaints the world of the Bloomsberries and rescues the grand life of Ottoline Morrell from the depths of historical obscurity.
In the spring of 1914, a group of students at the Slade School of Art have gathered for a life-drawing class. Paul Tarrant is easily distracted by an intriguing fellow student, Elinor Brooke, but watches from afar when a well-known painter catches her eye. After World War I begins, Paul tends to the dying soldiers from the front line as a Belgian Red Cross volunteer, but the longer he remains, the greater the distance between him and home becomes. By the time he returns, Paul must confront not only the overwhelming, perhaps impossible challenge of how to express all that he has seen and experienced, but also the fact that life, and love, will never be the same for him again.
"Powerful, moving, brilliant . . . an utterly captivating read, and I came away from it with this astonished thought: There's nothing this writer can't do." --Elizabeth Gilbert For readers of A Gentleman in Moscow and Z: A Novel of Zelda Fitzgerald, an ambitious, spellbinding historical novel about sensuality, censorship, and the novel that set off the sexual revolution. On the glittering shores of the Mediterranean in 1928, a dying author in exile races to complete his final novel. Lady Chatterley's Lover is a sexually bold love story, a searing indictment of class distinctions, and a study in sensuality. But the author, D.H. Lawrence, knows it will be censored. He publishes it privately, loses his copies to customs, and dies bereft. Booker Prize-longlisted author Alison MacLeod brilliantly recreates the novel's origins and boldly imagines its journey to freedom through the story of Jackie Kennedy, who was known to be an admirer. In MacLeod's telling, Jackie-in her last days before becoming first lady-learns that publishers are trying to bring D.H. Lawrence's long-censored novel to American and British readers in its full form. The U.S. government has responded by targeting the postal service for distributing obscene material. Enjoying what anonymity she has left, determined to honor a novel she loves, Jackie attends the hearing incognito. But there she is quickly recognized, and FBI Director J. Edgar Hoover takes note of her interest and her outrage. Through the story of Lawrence's writing of Lady Chatterley's Lover, the historic obscenity trial that sought to suppress it in the United Kingdom, and the men and women who fought for its worldwide publication, Alison MacLeod captures the epic sweep of the twentieth century from war and censorship to sensuality and freedom. Exquisite, evocative, and grounded in history, Tenderness is a testament to the transformative power of fiction.
The story of F. Scott Fitzgerald's creation of Jay Gatsby—war hero and Oxford man—at the beginning of the Jazz Age, when the City of Dreaming Spires attracted an astounding array of intellectuals, including the Inklings, W.B. Yeats, and T.S. Eliot. A diverse group of Americans came to Oxford in the first quarter of the twentieth century—the Jazz Age—when the Rhodes Scholar program had just begun and the Great War had enveloped much of Europe. Scott Fitzgerald created his most memorable character—Jay Gatsby—shortly after his and Zelda’s visit to Oxford. Fitzgerald’s creation is a cultural reflection of the aspirations of many Americans who came to the University of Oxford. Beginning in 1904, when the first American Rhodes Scholars arrived in Oxford, this book chronicles the experiences of Americans in Oxford through the Great War to the beginning of the Great Depression. This period is interpreted through the pages of The Great Gatsby, producing a vivid cultural history. Archival material covering Scholars who came to Oxford during Trinity Term 1919—when Jay Gatsby claims he studied at Oxford—enables the narrative to illuminate a detailed portrait of what a “historical Gatsby” would have looked like, what he would have experienced at the postwar university, and who he would have encountered around Oxford—an impressive array of artists including W.B. Yeats, Virginia Woolf, Aldous Huxley, and C.S. Lewis.