The Complete Works of Evelyn Waugh – serie

This volume is part of the Complete Works of Evelyn Waugh critical edition, which brings together all Waugh's published and previously unpublished writings for the first time with comprehensive introductions and annotation, and a full account of each text's manuscript development and textual variants. The edition's General Editor is Alexander Waugh, Evelyn Waugh's grandson and editor of the twelve-volume Personal Writings sequence.In a writing career populated with characters and situations drawn closely from life, A Little Learning is unique. It is Waugh's only finished, book-length work of autobiography, describing his ancestors and early childhood before arriving at boarding school in the South Downs and the Oxford University experiences that inspired his best-known work, Brideshead Revisited (1945). A Little Learning was intended to be the first of three autobiographical volumes, but Waugh died before more than a fragment of its successor, A Little Hope, was completed, making A Little Learning his last book. In this new critical edition, John Howard Wilson and Barbara Cooke lay out the complex literary and cultural inheritance of A Little Learning, and discuss the circumstances of its composition in a rapidly changing world from which Waugh felt increasingly isolated. For the first time, all the surviving fragments of A Little Hope are reproduced in full, and the volume brings together all Waugh's major radio, TV, and magazine interviews which span his thirty-year career.

Evelyn Waugh's A Handful of Dust (1934) is often thought to be among his best novels. It is a darkly bitter account of the end of a marriage, its causes and its effects. Waugh wrote the book with half an eye on his own recent experience of the break-up of his marriage to Evelyn Gardner. The care and trouble he took over the work are reflected in his successive revisions of its text in manuscript and print. These can be recovered from sources on both sides of the Atlantic, notably from the autograph and typescript manuscript in the Harry Ransom Center at Austin, Texas, a proof copy of the first edition at the Huntington Library in California, in the serialization in different versions of the first part of the novel in Harper's Bazaar, prepared for the UK and the US markets, and in four editions published in his lifetime in the UK and one in the US. All of these witnesses have been collated in this, the first fully edited and annotated edition of the novel. There is a substantial introduction describing the novel's composition and reception, as well as the literary influences on which Waugh drew—including Shakespeare, Dickens, Kipling, and Beatrix Potter. The edition seeks to show Waugh as a consummate craftsman, at work on a painful subject that he treats in comic, tragic, and satirical ways.

This volume is part of the Complete Works of Evelyn Waugh critical edition, which brings together all Waugh's published and previously unpublished writings for the first time with comprehensive introductions and annotation, and a full account of each text's manuscript development and textual variants. The edition's General Editor is Alexander Waugh, Evelyn Waugh's grandson and editor of the twelve-volume Personal Writings sequence.In winter 1954, Evelyn Waugh took a voyage to Sri Lanka to escape the English cold and recover his ailing health. Visibly unwell when he boarded ship, once at sea he began suffering auditory hallucinations that pursued him through his 'holiday' and back on to an early flight home. He then fictionalized his experiences as The Ordeal of Gilbert Pinfold. This curious novel has baffled and intrigued critics ever since its first publication in 1957 and is now presented in a full critical edition. This new volume charts the creation and publication of the novel and examines its cultural and literary significance, noting every textual change and revision from manuscript to the last edition to be published in Evelyn Waugh's lifetime. It has a comprehensive appendix of contextual notes and an extensive scholarly introduction covering all aspects of the history of this text and its place in cultural and literary history. It draws on newly discovered material, including Waugh's engagement diaries, to tell the story behind the narrative and explain how fantasy and painful reality intertwine in this highly biographical work of fiction.

This volume is part of the Complete Works of Evelyn Waugh critical edition, which brings together all Waugh's published and previously unpublished writings for the first time with comprehensive introductions and annotation, and a full account of each text's manuscript development and textual variants. The edition's General Editor is Alexander Waugh, Evelyn Waugh's grandson and editor of the twelve-volume Personal Writings sequence.This is the first fully annotated, critical edition of the travel book Ninety-Two Days (1934), Evelyn Waugh's account of an arduous journey through British Guiana and northern Brazil that provided crucial material for what many consider his finest novel, A Handful of Dust. A biographical and historical introduction places the work in the context of Waugh's life, and among other travel books written about the area; discusses how the text evolved from manuscript to print; and connects it with other literary works such as Arthur Conan Doyle's The Lost World, and with the persistent myth of the lost city of El Dorado.

This volume is part of the Complete Works of Evelyn Waugh critical edition, which brings together all Waugh's published and previously unpublished writings for the first time with comprehensive introductions and annotation, and a full account of each text's manuscript development and textual variants. The edition's General Editor is Alexander Waugh, Evelyn Waugh's grandson and editor of the twelve-volume Personal Writings sequence.'A wicked book', one reviewer called it. Evelyn Waugh's eighth novel, The Loved One (1948), represents a return to the pungent satirical manner from which its predecessor Brideshead Revisited, three years earlier, had deviated. The prospect of Brideshead being turned into a film took its author to Los Angeles, where he became more interested in Forest Lawn Memorial-Park and its funeral rites than in Hollywood and its dreams of immortality. Or rather, 'obsessed' (his word) about the relations between them. Around these twin industries he spun a macabre fiction about an English poet and failed scriptwriter, an ingenuous young American beautician, and the master mortician for whom she works. A strong supporting cast features the English ex-patriate community and the Hollywood Cricket Club, the movie moguls and their henchmen, and the devotees serving the fictional 'Whispering Glades'. The resulting story is one of Waugh's funniest, yet it harbours an underlying gravity about the way the world (or the West) was going in the aftermath of global war. The Loved One is deeply coloured by memories of war. It may be concerned with the world of appearances to which Hollywood and Forest Lawn were dedicated, but this does not make it superficial. On the contrary. Waugh subtitled it 'An Anglo-American Tragedy', but it can be just as well understood as the most mordant of comedies, closer to the world of Samuel Beckett than of P. G. Wodehouse. Or better, an improbable combination of the two.

This volume is part of the Complete Works of Evelyn Waugh critical edition, which brings together all Waugh's published and previously unpublished writings for the first time with comprehensive introductions and annotation, and a full account of each text's manuscript development and textual variants. The edition's General Editor is Alexander Waugh, Evelyn Waugh's grandson and editor of the twelve-volume Personal Writings sequence.A Tourist in Africa was Evelyn Waugh's final travel book, and one of his most interesting. Restless and intolerant of the English winter, Waugh boards the Pendennis Castle for East Africa by way of Italy and Suez, going on to retrace the routes of journeys he took as a much younger man through Kenya, Tanganyika, the Rhodesias, and other East African countries. He embarks on his trip at the very moment when many of these countries are beginning to assert their independence after decades of British rule. As he travels, Waugh contemplates the changing face of an Africa he has known intimately as well as his own increasingly awkward fit in the modern world. Even as he contends with his own encroaching age and the unwelcome changes to international travel, his usual zest for adventure and discovery asserts itself at every turn. A much better sailor than flyer, Waugh laments the impending eclipse of sea travel as well as the declining appetite for danger and daring he witnesses in some of his companions. This edition provides hundreds of contextual notes to illuminate the historical, cultural, and biographical details of most interest to readers of Waugh, travel writing, and African history; a complete textual history which traces every change made to the text from Waugh's first drafts to the first published British and American editions; new and original illustrations; and a thorough but eminently readable introduction by Patrick R. Query.

This volume is part of the Complete Works of Evelyn Waugh critical edition, which brings together all Waugh's published and previously unpublished writings for the first time with comprehensive introductions and annotation, and a full account of each text's manuscript development and textual variants. The edition's General Editor is Alexander Waugh, Evelyn Waugh's grandson and editor of the twelve-volume Personal Writings sequence.Evelyn Waugh originally wrote his Edmund Campion to thank Martin D'Arcy, SJ, and to help with the building of Campion Hall, but his experience of Communist oppression in Mexico and Croatia transformed his understanding of Campion's life, revealing Campion less as an Elizabethan martyr than as part of 'the unending war' between the church and the totalitarian state. Waugh wrote a passionate new 'Preface' for the American edition of 1946 and made important changes to each of the three subsequent editions, culminating in the beautiful third edition of 1961. This new edition provides extensive biographical and contextual notes to help the reader unfamiliar with early modern history and records the many manuscript revisions and the book's reception both sides of the Atlantic. The introduction explores the personal impact of Waugh's friendship with the Asquith and Herbert families and examines the cultural context of a brief period of confidence for English Catholicism, energized by the canonization process (in which Waugh's own daughters were involved), which coincided with the publication of the five editions of the book from 1935 to 1961. Waugh received the Hawthornden Prize for the book just before he took part in the opening of Campion Hall; the book offered him a Jesuit hearth in the 'household of the faith' and gave a new theological direction to his writing, characterized by Brideshead Revisited, Helena, The Sword of Honour trilogy, and Ronald Knox. The book emerges as one of the best objets d'Arcy, which Waugh continued to give to friends till his death.

This volume is part of the Complete Works of Evelyn Waugh critical edition, which brings together all Waugh's published and previously unpublished writings for the first time with comprehensive introductions and annotation, and a full account of each text's manuscript development and textual variants. The edition's General Editor is Alexander Waugh, Evelyn Waugh's grandson and editor of the twelve-volume Personal Writings sequence.This is the first fully annotated critical edition of Waugh's book on Mexico, Robbery Under Law: The Mexican Object-Lesson (1939), based on three months' research by Waugh in the country in 1938 and rarely included in later reprints of Waugh's travel writings. Waugh insisted in its opening words: 'This is a political book'; it traced the expropriation of British and American oil interests in Mexico by its repressive Marxist government. It described the current political and social inequities suffered by both its Mexican citizens and foreign companies trading there and also provided a powerful account of the history of Catholic persecution in the country. Its narratives offered an implicit but potent warning about the barbarity of totalitarian regimes as war in Western Europe grew increasingly likely.

This volume is part of the Complete Works of Evelyn Waugh critical edition, which brings together all Waugh's published and previously unpublished writings for the first time with comprehensive introductions and annotation. The edition's General Editor is Alexander Waugh, Evelyn Waugh's grandson and editor of the twelve-volume Personal Writings sequence, which collates all Waugh's letters, diaries, and other personal writings in chronological order.Volume one of the series covers the years 1903-1921, ending with Waugh's departure from Lancing College, aged 18, with a scholarship to Hertford College, Oxford. For many years at Lancing Waugh kept a daily account of his life, and every diary entry is reprinted here along with the lively pen-and ink drawings that accompanied them and the letters he sent to his parents and friends. No other book presents such a rich anthology of writing by a school-boy, let alone one who would later turn into a major literary figure and novelist of genius.

This volume is part of the Complete Works of Evelyn Waugh critical edition, which brings together all Waugh's published and previously unpublished writings for the first time with comprehensive introductions and annotation, and a full account of each text's manuscript development and textual variants. The edition's General Editor is Alexander Waugh, Evelyn Waugh's grandson and editor of the twelve-volume Personal Writings sequence.This first volume of Evelyn Waugh's Articles, Essays, and Reviews contains every traceable piece of journalism that research could uncover written by Waugh between January 1922, when he first went up to Oxford, and December 1934, when he had recently returned from British Guiana and was enjoying the runaway success of A Handful of Dust. Long interred in fashion magazines, popular newspapers, sober journals, undergraduate reviews, and BBC archives, 110 of the 170 pieces in the volume have never before been reprinted. Several typescripts of articles and reviews are published here for the first time, as are a larger number of unsigned pieces never before identified as Waugh's. Original texts, so easily distorted in the production process, have been established as far as possible using manuscript and other controls. The origins of the works are explored, and annotations to each piece seek to assist the modern reader.The volume embraces university journalism; essays from Waugh's years of drift after Oxford; forcefully emphatic articles and contrasting sophisticated reviews written for the metropolitan press from 1928 to 1930 (the most active and enterprising years of Waugh's career); reports for three newspapers of a coronation in Abyssinia and essays for The Times on the condition of Ethiopia and on British policy in Arabia. Finally, in early 1934 Waugh travelled for three months in remote British Guiana, resulting in nine travel articles and A Handful of Dust, acclaimed as one of the most distinguished novels of the century. Waugh was 19 when his first Oxford review appeared, 31 when the Spectator printed his last review of 1934. This is a young writer's book, and the always lucid articles and reviews it presents read as fresh and lively, as challenging and opinionated, as the day they first appeared.

This volume is part of the Complete Works of Evelyn Waugh critical edition, which brings together all Waugh's published and previously unpublished writings for the first time with comprehensive introductions and annotation, and a full account of each text's manuscript development and textual variants. The edition's General Editor is Alexander Waugh, Evelyn Waugh's grandson and editor of the twelve-volume Personal Writings sequence.This is the first critical edition of Waugh's celebrated novel, a work that is unapologetically modernist in form and tone. The history of Vile Bodies presents an intriguing bibliographical and biographical detective story, not least because Waugh's first wife left him when he was in the middle of writing it. Drawing on previously unpublished correspondence, this edition plots the novel's composition against the cultural backdrop of the 1929 'Flapper's Election', the world of the Bright Young People, and the Wall Street Crash. An introduction and textual analysis explores a range of questions, including: Why were Waugh's corrections to the only extant typescript ignored? What is the evidence to suggest the very point in the autograph manuscript at which Waugh broke off upon learning of his wife's affair? Did he go back over the previous chapter adding darker touches, and, on returning to composition, use the book as a form of public letter to his wife? What readings did the typist invent through mistranscription?

This volume is part of the Complete Works of Evelyn Waugh critical edition, which brings together all Waugh's published and previously unpublished writings for the first time with comprehensive introductions and annotation, and a full account of each text's manuscript development and textual variants. The edition's General Editor is Alexander Waugh, Evelyn Waugh's grandson and editor of the twelve-volume Personal Writings sequence.This, Waugh's first published book, marked the centenary of the birth of the painter and poet Dante Gabriel Rossetti (1828-1882). Waugh was fascinated by the bohemian lives of the Pre-Raphaelite painters, and by his own family connection with them (William Holman Hunt had married, successively, two cousins of his grandfather). Rossetti is both compassionate towards its subject and critical of his self-destructive nature. The incisive analysis of Rossetti's painterly techniques contributed to the resurgence of public interest in Rossetti's art and poetry. The biography was also an early expression of Waugh's lifelong interest in narrative art, and laid the foundations for his own belief in the importance of the spiritual as well as the aesthetic vision of the artist. Although Rossetti was hastily compiled, it is nevertheless elegant and witty.