Richard Pine is Director of the Durrell Library of Corfu, and author of Lawrence Durrell: The Mindscape. He has previously edited Lawrence Durrell’s novels Judith and The Placebo. His numerous publications include The Diviner: The Art of Brian Friel (1999), The Disappointed Bridge: Ireland and the Post-Colonial World (2014), Greece through Irish Eyes (2015), and The Minor Mythologies as Popular Literature: A Student’s Guide to Texts and Films (2018). He is a columnist for The Irish Times and Kathimerini, an obituarist for The Guardian, and editor of the online C.20 – an international journal.

“To all those who thought they were done with Lawrence Durrell after having fallen in love reading The Alexandria Quartet, gone hitchhiking on Cyprus with Bitter Lemons tucked in their rucksack, and laughed with The Durrells in Corfu (Christopher Hall, ITV comedy-drama, 2016-2019), Richard Pine proves that they were rash and careless: “it is […] only a beginning” (Prospero’s Cell, Faber, 1962, 17). The two thick volumes of Lawrence Durrell’s Endpapers and Inklings 1933-1988 soon convince the reader that there is more than first meets the eye in this protean writer who not only produced accomplished works of art in every genre (novels, island books, essays, plays and poems) but whose lesser-known and unpublished writings reveal an enquiring, alert and anxious mind that never ceased to roam the world in a desperate attempt to “find out where [he] fit in the universe” (vol 1, 411). Richard Pine’s endeavour to arouse our interest in a man who from the start “was never native to anywhere” (vol 1, xiv) and finally succeeded in making himself heard from elsewhere is thoroughly rewarded. […] The variety of texts chosen by Pine highlights the vast scope of Durrell’s interests and experiences as well as his delightful sense of humour. […] Opting for a thematic perspective that highlights meetings and departures, landscapes and people, and the labile frontiers between styles, tones and genres, Pine offers us a medley of texts in what purports to be “not an ‘academic’” work (vol 1, xviiii) […] Pine’s publication adopts a broader perspective that endeavours to leave no stone unturned by including Durrell’s “various hands […] mite, obs or inks” (Caesar’s Vast Ghost, London: Faber, 1990, 15). In the constant shuttling between unpublished and published yet lesser-known texts, between people, times and places, Pine confirms Durrell’s status as a rebellious artist who, out of choice and by necessity, adopted a minority position, constantly fighting out from a marginal, tight corner in order to redefine the space and alter the contours of English literature.”Isabelle Keller-PrivatPresident, International Lawrence Durrell Society; Miranda, 2020

Richard Pine is Director of the Durrell Library of Corfu, and author of Lawrence Durrell: The Mindscape. He has previously edited Lawrence Durrell’s novels Judith and The Placebo. His numerous publications include The Diviner: The Art of Brian Friel (1999), The Disappointed Bridge: Ireland and the Post-Colonial World (2014), Greece through Irish Eyes (2015), and The Minor Mythologies as Popular Literature: A Student’s Guide to Texts and Films (2018). He is a columnist for The Irish Times and Kathimerini, an obituarist for The Guardian, and editor of the online C.20 – an international journal.

“To all those who thought they were done with Lawrence Durrell after having fallen in love reading The Alexandria Quartet, gone hitchhiking on Cyprus with Bitter Lemons tucked in their rucksack, and laughed with The Durrells in Corfu (Christopher Hall, ITV comedy-drama, 2016-2019), Richard Pine proves that they were rash and careless: “it is […] only a beginning” (Prospero’s Cell, Faber, 1962, 17). The two thick volumes of Lawrence Durrell’s Endpapers and Inklings 1933-1988 soon convince the reader that there is more than first meets the eye in this protean writer who not only produced accomplished works of art in every genre (novels, island books, essays, plays and poems) but whose lesser-known and unpublished writings reveal an enquiring, alert and anxious mind that never ceased to roam the world in a desperate attempt to “find out where [he] fit in the universe” (vol 1, 411). Richard Pine’s endeavour to arouse our interest in a man who from the start “was never native to anywhere” (vol 1, xiv) and finally succeeded in making himself heard from elsewhere is thoroughly rewarded. […] The variety of texts chosen by Pine highlights the vast scope of Durrell’s interests and experiences as well as his delightful sense of humour. […] Opting for a thematic perspective that highlights meetings and departures, landscapes and people, and the labile frontiers between styles, tones and genres, Pine offers us a medley of texts in what purports to be “not an ‘academic’” work (vol 1, xviiii) […] Pine’s publication adopts a broader perspective that endeavours to leave no stone unturned by including Durrell’s “various hands […] mite, obs or inks” (Caesar’s Vast Ghost, London: Faber, 1990, 15). In the constant shuttling between unpublished and published yet lesser-known texts, between people, times and places, Pine confirms Durrell’s status as a rebellious artist who, out of choice and by necessity, adopted a minority position, constantly fighting out from a marginal, tight corner in order to redefine the space and alter the contours of English literature.”Isabelle Keller-PrivatPresident, International Lawrence Durrell Society; Miranda, 2020

Richard Pine is Director of the Durrell Library of Corfu, and author of Lawrence Durrell: The Mindscape. He has previously edited Lawrence Durrell’s novels Judith and The Placebo. His numerous publications include The Diviner: The Art of Brian Friel (1999), The Disappointed Bridge: Ireland and the Post-Colonial World (2014), Greece through Irish Eyes (2015), and The Minor Mythologies as Popular Literature: A Student’s Guide to Texts and Films (2018). He is a columnist for The Irish Times and Kathimerini, an obituarist for The Guardian, and editor of the online C.20 – an international journal.

“To all those who thought they were done with Lawrence Durrell after having fallen in love reading The Alexandria Quartet, gone hitchhiking on Cyprus with Bitter Lemons tucked in their rucksack, and laughed with The Durrells in Corfu (Christopher Hall, ITV comedy-drama, 2016-2019), Richard Pine proves that they were rash and careless: “it is […] only a beginning” (Prospero’s Cell, Faber, 1962, 17). The two thick volumes of Lawrence Durrell’s Endpapers and Inklings 1933-1988 soon convince the reader that there is more than first meets the eye in this protean writer who not only produced accomplished works of art in every genre (novels, island books, essays, plays and poems) but whose lesser-known and unpublished writings reveal an enquiring, alert and anxious mind that never ceased to roam the world in a desperate attempt to “find out where [he] fit in the universe” (vol 1, 411). Richard Pine’s endeavour to arouse our interest in a man who from the start “was never native to anywhere” (vol 1, xiv) and finally succeeded in making himself heard from elsewhere is thoroughly rewarded. […] The variety of texts chosen by Pine highlights the vast scope of Durrell’s interests and experiences as well as his delightful sense of humour. […] Opting for a thematic perspective that highlights meetings and departures, landscapes and people, and the labile frontiers between styles, tones and genres, Pine offers us a medley of texts in what purports to be “not an ‘academic’” work (vol 1, xviiii) […] Pine’s publication adopts a broader perspective that endeavours to leave no stone unturned by including Durrell’s “various hands […] mite, obs or inks” (Caesar’s Vast Ghost, London: Faber, 1990, 15). In the constant shuttling between unpublished and published yet lesser-known texts, between people, times and places, Pine confirms Durrell’s status as a rebellious artist who, out of choice and by necessity, adopted a minority position, constantly fighting out from a marginal, tight corner in order to redefine the space and alter the contours of English literature.”Isabelle Keller-PrivatPresident, International Lawrence Durrell Society; Miranda, 2020