From janinehunn at yahoo.com Tue Apr 22 14:34:26 2008 From: janinehunn at yahoo.com (Janine Hunn) Date: Tue, 22 Apr 2008 14:34:26 -0700 (PDT) Subject: [ilds] Great Alexandria Quartet for Sale Message-ID: <658283.88431.qm@web30201.mail.mud.yahoo.com> An HTML attachment was scrubbed... URL: http://lists.uvic.ca/pipermail/ilds/attachments/20080422/080dd4db/attachment.html From delospeter at hotmail.com Thu Apr 24 11:19:00 2008 From: delospeter at hotmail.com (PETER BALDWIN) Date: Thu, 24 Apr 2008 18:19:00 +0000 Subject: [ilds] Great Alexandria Quartet for Sale In-Reply-To: <658283.88431.qm@web30201.mail.mud.yahoo.com> References: <658283.88431.qm@web30201.mail.mud.yahoo.com> Message-ID: Not sure it's even worth a bid Not seen the covers before - they look a bit tacky Faber keep the Quartet and the Quintet in print - both good qulaity paper, not the chaep stuff used the the D - M Letters and Ian's biog. Peter Baldwin Date: Tue, 22 Apr 2008 14:34:26 -0700From: janinehunn at yahoo.comTo: ilds at lists.uvic.caSubject: [ilds] Great Alexandria Quartet for Sale I thought that your members may be interested in this. Thank you. Janine http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=160232765790&ssPageName=ADME:L:LCA:US:1123 Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it now. _________________________________________________________________ Play the Andrex Hello Softie Game & win great prizes http://www.thehellosoftiegame.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: http://lists.uvic.ca/pipermail/ilds/attachments/20080424/45a31d1a/attachment.html From godshawl at email.uc.edu Thu Apr 24 15:28:05 2008 From: godshawl at email.uc.edu (william godshalk) Date: Thu, 24 Apr 2008 18:28:05 -0400 Subject: [ilds] Great Alexandria Quartet for Sale In-Reply-To: References: <658283.88431.qm@web30201.mail.mud.yahoo.com> Message-ID: <77.19.27516.77901184@gwout2> An HTML attachment was scrubbed... URL: http://lists.uvic.ca/pipermail/ilds/attachments/20080424/283468db/attachment.html From bf779 at freenet.carleton.ca Thu Apr 24 15:51:33 2008 From: bf779 at freenet.carleton.ca (Philip Walsh) Date: Thu, 24 Apr 2008 18:51:33 -0400 Subject: [ilds] Great Alexandria Quartet for Sale In-Reply-To: <77.19.27516.77901184@gwout2> References: <658283.88431.qm@web30201.mail.mud.yahoo.com> <77.19.27516.77901184@gwout2> Message-ID: <48110EF5.2010400@freenet.carleton.ca> william godshalk wrote: > Yes, but, still, and at the same time, these books remind me of the > first time I read /Justine -- /and couldn't wait to finish the Quartet. > I did place a bid -- for nostalgia's sake. Nothin wrong with a little > nostalgia, I say. > I agree with Bill. Those volumes provoke nostalgia with a sharpness only appropriate to books where memory is so important. I first read a university friend's copies of the Quartet in hard cover. Then I bought my own copies in these same paperback editions. I still remember vividly the sight, touch, and texture of those volumes as I read and re-read them on the bus to my summer job and later on the subway to my night job. (And envying a co-worker who had been to Paris the previous summer and brought back the Olympia Black Book.) I have a lot of memories associated with my early reading of the Quartet. I'll spare you, though. As for bidding on these volumes, I was lucky enough to find similar copies of all but Mountolive the last time I was in New York City. The Strand Book Store had them on one of the bargain bins at a quarter each. Philip Walsh Ottawa, Canada From godshawl at email.uc.edu Thu Apr 24 17:45:29 2008 From: godshawl at email.uc.edu (william godshalk) Date: Thu, 24 Apr 2008 20:45:29 -0400 Subject: [ilds] Great Alexandria Quartet for Sale In-Reply-To: <48110EF5.2010400@freenet.carleton.ca> References: <658283.88431.qm@web30201.mail.mud.yahoo.com> <77.19.27516.77901184@gwout2> <48110EF5.2010400@freenet.carleton.ca> Message-ID: <5F.58.27516.7B921184@gwout2> The truth to tell, I already have these four volumes, underlined and annotated by me, in 1961. Why do I buy even more? Bill At 06:51 PM 4/24/2008, you wrote: >william godshalk wrote: > > Yes, but, still, and at the same time, these books remind me of the > > first time I read /Justine -- /and couldn't wait to finish the Quartet. > > I did place a bid -- for nostalgia's sake. Nothin wrong with a little > > nostalgia, I say. > > >I agree with Bill. Those volumes provoke nostalgia with a sharpness >only appropriate to books where memory is so important. I first read a >university friend's copies of the Quartet in hard cover. Then I bought >my own copies in these same paperback editions. I still remember >vividly the sight, touch, and texture of those volumes as I read and >re-read them on the bus to my summer job and later on the subway to my >night job. (And envying a co-worker who had been to Paris the previous >summer and brought back the Olympia Black Book.) I have a lot of >memories associated with my early reading of the Quartet. I'll spare >you, though. > >As for bidding on these volumes, I was lucky enough to find similar >copies of all but Mountolive the last time I was in New York City. The >Strand Book Store had them on one of the bargain bins at a quarter each. > >Philip Walsh >Ottawa, Canada > > > > >_______________________________________________ >ILDS mailing list >ILDS at lists.uvic.ca >https://lists.uvic.ca/mailman/listinfo/ilds *************************************** W. L. Godshalk * Department of English * University of Cincinnati Stellar disorder * Cincinnati OH 45221-0069 * 513-281-5927 *************************************** From odos.fanourios at gmail.com Fri Apr 25 08:40:37 2008 From: odos.fanourios at gmail.com (James Gifford) Date: Fri, 25 Apr 2008 09:40:37 -0600 Subject: [ilds] Silent Plum Wine? Message-ID: <4811FB75.1080506@gmail.com> Hello all, I just stumbled across this passage in Angela David-Gardner's novel /Plum Wine/, and I thought I'd share it with the group: ----------- She thought of last night, how little he'd said. Perhaps it was characteristic. Perhaps he became more reserved, when moved. The building was steeped in silence. A line from Lawrence Durrell came to her mind: "Does not everything depend upon our interpretation of the silence around us?" ----------- I wonder just how often we all find such things in contemporary reading materials? I can think of a few Canadian authors who've overtly cited Durrell, even two who were up for or got the Governor General's Award. Is it widespread? Contagious? Best to everyone from snowbound Alberta. Cheers, James ___________________________ James Gifford Department of English University of Victoria Victoria, B.C., Canada http://web.uvic.ca/~gifford From bf779 at freenet.carleton.ca Fri Apr 25 08:45:21 2008 From: bf779 at freenet.carleton.ca (Philip Walsh) Date: Fri, 25 Apr 2008 11:45:21 -0400 Subject: [ilds] One-Volume Alexandria Quartet Message-ID: <4811FC91.30507@freenet.carleton.ca> Some while ago, I picked up a copy of the Dutton one-volume Quartet, but I only looked at it recently. In an author's note, Durrell speaks of using the republication to make some changes and speaks of removing sections from the novels and adding some. Can anyone tell me just how extensive the changes are? Which sections are cut, and which added? Thanks for any information. Philip Walsh Ottawa, Canada From odos.fanourios at gmail.com Fri Apr 25 09:01:49 2008 From: odos.fanourios at gmail.com (James Gifford) Date: Fri, 25 Apr 2008 10:01:49 -0600 Subject: [ilds] One-Volume Alexandria Quartet In-Reply-To: <4811FC91.30507@freenet.carleton.ca> References: <4811FC91.30507@freenet.carleton.ca> Message-ID: <4812006D.9090202@gmail.com> Hi Phillip, I think you can treat the /Dutton/ one volume as quite a find! Bruce and Charles appear to be the only ones among us with copies... I think it's identical to the Faber omnibus edition, except the front pages are reversed. Bruce? Charles? As for who to talk to about the changes, Charles did the pioneering work on that. Beatrice Skodili has discussed them as well, in her recent dissertation, though her interests were not bibliographical. There was some discussion of the matter on the list under the Justine Reading Group heading (see the archives with the [RG] markings): https://lists.uvic.ca/pipermail/ilds/ Alas, I'm afraid a bibliographical comparison of the editions in full does not yet exist in print. In general, the changes are fairly significant, but they're spread around throughout the books. My favourite to point out, perhaps mainly because I teach /Justine/, is the ending of the novel, the last sentence, the asterisk, and the moved objects in the preceding paragraph, etc... The changes from the proofs through to the first edition, its various corrections, and then the omnibus are quite fascinating. My tendency is to read them as emphasizing the thematic as well as the aesthetic aims of the book. Best, James Philip Walsh wrote: > Some while ago, I picked up a copy of the Dutton one-volume Quartet, but > I only looked at it recently. > > In an author's note, Durrell speaks of using the republication to make > some changes and speaks of removing sections from the novels and adding > some. Can anyone tell me just how extensive the changes are? Which > sections are cut, and which added? > > Thanks for any information. > > Philip Walsh > Ottawa, Canada > > _______________________________________________ > ILDS mailing list > ILDS at lists.uvic.ca > https://lists.uvic.ca/mailman/listinfo/ilds > From delospeter at hotmail.com Fri Apr 25 09:44:00 2008 From: delospeter at hotmail.com (PETER BALDWIN) Date: Fri, 25 Apr 2008 16:44:00 +0000 Subject: [ilds] Great Alexandria Quartet for Sale In-Reply-To: <5F.58.27516.7B921184@gwout2> References: <658283.88431.qm@web30201.mail.mud.yahoo.com> <77.19.27516.77901184@gwout2> <48110EF5.2010400@freenet.carleton.ca> <5F.58.27516.7B921184@gwout2> Message-ID: I guess we were all younger then My first was Tunc - which I had bound up as a hard back, keeping the Faber cover Later got LD to sign it... However, the book I would rescue in a fire [ after wife and children, assuming I am helping them and not the other way round ] is my hardback of the 1980 Collected Poems, with a couple of photos of LD slipped in, ariel view postcard of Kouloura, Kalami and Agni bays slipped in. We are such stuff as our books are made of! - and our own underlinings give us away peter baldwin > Date: Thu, 24 Apr 2008 20:45:29 -0400> To: ilds at lists.uvic.ca> From: godshawl at email.uc.edu> Subject: Re: [ilds] Great Alexandria Quartet for Sale> > The truth to tell, I already have these four volumes, underlined and > annotated by me, in 1961.> > Why do I buy even more?> > Bill> > At 06:51 PM 4/24/2008, you wrote:> >william godshalk wrote:> > > Yes, but, still, and at the same time, these books remind me of the> > > first time I read /Justine -- /and couldn't wait to finish the Quartet.> > > I did place a bid -- for nostalgia's sake. Nothin wrong with a little> > > nostalgia, I say.> > >> >I agree with Bill. Those volumes provoke nostalgia with a sharpness> >only appropriate to books where memory is so important. I first read a> >university friend's copies of the Quartet in hard cover. Then I bought> >my own copies in these same paperback editions. I still remember> >vividly the sight, touch, and texture of those volumes as I read and> >re-read them on the bus to my summer job and later on the subway to my> >night job. (And envying a co-worker who had been to Paris the previous> >summer and brought back the Olympia Black Book.) I have a lot of> >memories associated with my early reading of the Quartet. I'll spare> >you, though.> >> >As for bidding on these volumes, I was lucky enough to find similar> >copies of all but Mountolive the last time I was in New York City. The> >Strand Book Store had them on one of the bargain bins at a quarter each.> >> >Philip Walsh> >Ottawa, Canada> >> >> >> >> >_______________________________________________> >ILDS mailing list> >ILDS at lists.uvic.ca> >https://lists.uvic.ca/mailman/listinfo/ilds> > ***************************************> W. L. Godshalk *> Department of English *> University of Cincinnati Stellar disorder *> Cincinnati OH 45221-0069 *> 513-281-5927> ***************************************> > > _______________________________________________> ILDS mailing list> ILDS at lists.uvic.ca> https://lists.uvic.ca/mailman/listinfo/ilds _________________________________________________________________ Be a superhero and win! Play the Iron Man Mashup Game http://www.ironmanmashup.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: http://lists.uvic.ca/pipermail/ilds/attachments/20080425/2df77050/attachment.html From godshawl at email.uc.edu Fri Apr 25 11:03:21 2008 From: godshawl at email.uc.edu (william godshalk) Date: Fri, 25 Apr 2008 14:03:21 -0400 Subject: [ilds] One-Volume Alexandria Quartet In-Reply-To: <4812006D.9090202@gmail.com> References: <4811FC91.30507@freenet.carleton.ca> <4812006D.9090202@gmail.com> Message-ID: <09.F6.04104.CEC12184@gwout1> I may not appear to be a person who has a Dutton one volume Quartet -- but I do. A Faber (signed by Larry in 1986), too. BBill At 12:01 PM 4/25/2008, you wrote: >Hi Phillip, > >I think you can treat the /Dutton/ one volume as quite a find! Bruce >and Charles appear to be the only ones among us with copies... I think >it's identical to the Faber omnibus edition, except the front pages are >reversed. Bruce? Charles? > >As for who to talk to about the changes, Charles did the pioneering work >on that. Beatrice Skodili has discussed them as well, in her recent >dissertation, though her interests were not bibliographical. > >There was some discussion of the matter on the list under the Justine >Reading Group heading (see the archives with the [RG] markings): > >https://lists.uvic.ca/pipermail/ilds/ > >Alas, I'm afraid a bibliographical comparison of the editions in full >does not yet exist in print. In general, the changes are fairly >significant, but they're spread around throughout the books. My >favourite to point out, perhaps mainly because I teach /Justine/, is the >ending of the novel, the last sentence, the asterisk, and the moved >objects in the preceding paragraph, etc... > >The changes from the proofs through to the first edition, its various >corrections, and then the omnibus are quite fascinating. My tendency is >to read them as emphasizing the thematic as well as the aesthetic aims >of the book. > >Best, >James > >Philip Walsh wrote: > > Some while ago, I picked up a copy of the Dutton one-volume Quartet, but > > I only looked at it recently. > > > > In an author's note, Durrell speaks of using the republication to make > > some changes and speaks of removing sections from the novels and adding > > some. Can anyone tell me just how extensive the changes are? Which > > sections are cut, and which added? > > > > Thanks for any information. > > > > Philip Walsh > > Ottawa, Canada > > > > _______________________________________________ > > ILDS mailing list > > ILDS at lists.uvic.ca > > https://lists.uvic.ca/mailman/listinfo/ilds > > >_______________________________________________ >ILDS mailing list >ILDS at lists.uvic.ca >https://lists.uvic.ca/mailman/listinfo/ilds *************************************** W. L. Godshalk * Department of English * University of Cincinnati Stellar disorder * Cincinnati OH 45221-0069 * 513-281-5927 *************************************** From odos.fanourios at gmail.com Fri Apr 25 10:57:08 2008 From: odos.fanourios at gmail.com (James Gifford) Date: Fri, 25 Apr 2008 11:57:08 -0600 Subject: [ilds] Great Alexandria Quartet for Sale In-Reply-To: References: <658283.88431.qm@web30201.mail.mud.yahoo.com> <77.19.27516.77901184@gwout2> <48110EF5.2010400@freenet.carleton.ca> <5F.58.27516.7B921184@gwout2> Message-ID: <48121B74.20109@gmail.com> > We are such stuff as our books are made of! > - and our own underlinings give us away "He suddenly realised that he was surrounded by the dead woman's books. Underlinings, annotations. She was still here!" (Avignon Quintet 299) I've been chasing LD through an intended revision he'd wanted to make to Monsieur that led into Livia, by way of a variant he gave to Robin Skelton, and I can't help but feel he's already there ahead of me, knowing what we readers do... It haunts me while I sketch the article. Peter, should you be interested, LD's correspondence with Jay Brigham for the 1980 Collected Poems, along with Jay's collection of all the variants, tss., proofs, and such are now deposited in Victoria. It's not catalogued yet, but I know they're ascertaining its status in national collections, so a query might be quite well-timed... http://gateway.uvic.ca/spcoll/sc.html I sent around my description of the materials a while ago: https://lists.uvic.ca/pipermail/ilds/Week-of-Mon-20070528/001481.html Best, James From bredwine1968 at earthlink.net Fri Apr 25 12:26:37 2008 From: bredwine1968 at earthlink.net (Bruce Redwine) Date: Fri, 25 Apr 2008 12:26:37 -0700 (GMT-07:00) Subject: [ilds] One-Volume Alexandria Quartet Message-ID: <19382848.1209151598077.JavaMail.root@elwamui-hound.atl.sa.earthlink.net> James sums it up neatly. I have the Faber omnibus edition (1962) and have never seen the Dutton version of same. I'm not a textualist, but I have noted small differences and variants (but no radical changes, so far) in the early editions and the 1962, which I've been told is authoritative. So, anyone doing scholarship should use that edition and avoid being chastised for sloppiness, unprofessionalism, or worse. I'm struck by recent comments on the tactile aspects of the Quartet, i.e., how first readings got imprinted, indelibly, onto readers' imaginations and how this turned into unnatural attachments to physical objects, i.e., the book themselves. I had the same experience. I wonder if reading Durrell is a perversion of some kind, to which the youth of a prior age were particularly susceptible. Dr. Anthony Durrell probably has professional observations on this topic. Charles gave a very good talk on this aspect of reading the Quartet at the conference in Victoria -- the physicality of the Quartet, that is, not its incitement to perversity. I hope he publishes it somewhere, preferably in the proceedings. Charles? Bruce -----Original Message----- >From: James Gifford >Sent: Apr 25, 2008 9:01 AM >To: ilds at lists.uvic.ca >Subject: Re: [ilds] One-Volume Alexandria Quartet > >Hi Phillip, > >I think you can treat the /Dutton/ one volume as quite a find! Bruce >and Charles appear to be the only ones among us with copies... I think >it's identical to the Faber omnibus edition, except the front pages are >reversed. Bruce? Charles? > >As for who to talk to about the changes, Charles did the pioneering work >on that. Beatrice Skodili has discussed them as well, in her recent >dissertation, though her interests were not bibliographical. > >There was some discussion of the matter on the list under the Justine >Reading Group heading (see the archives with the [RG] markings): > >https://lists.uvic.ca/pipermail/ilds/ > >Alas, I'm afraid a bibliographical comparison of the editions in full >does not yet exist in print. In general, the changes are fairly >significant, but they're spread around throughout the books. My >favourite to point out, perhaps mainly because I teach /Justine/, is the >ending of the novel, the last sentence, the asterisk, and the moved >objects in the preceding paragraph, etc... > >The changes from the proofs through to the first edition, its various >corrections, and then the omnibus are quite fascinating. My tendency is >to read them as emphasizing the thematic as well as the aesthetic aims >of the book. > >Best, >James > >Philip Walsh wrote: >> Some while ago, I picked up a copy of the Dutton one-volume Quartet, but >> I only looked at it recently. >> >> In an author's note, Durrell speaks of using the republication to make >> some changes and speaks of removing sections from the novels and adding >> some. Can anyone tell me just how extensive the changes are? Which >> sections are cut, and which added? >> >> Thanks for any information. >> >> Philip Walsh >> Ottawa, Canada From justine.ariel at gmail.com Fri Apr 25 12:32:37 2008 From: justine.ariel at gmail.com (Justine Ariel) Date: Fri, 25 Apr 2008 22:32:37 +0300 Subject: [ilds] Quartet for Sale Message-ID: <5ebedb60804251232r2257ab64p688ceb7ef34117ad@mail.gmail.com> My neighborhood bookshop sold a leather-bound, signed edition of the Quartet for $1,000 USD - I asked to look at it a year ago and it was a marvelous little thing. Unfortunately it's disappeared since then and they won't tell me who they've sold it to. Justine Ariel -------------- next part -------------- An HTML attachment was scrubbed... URL: http://lists.uvic.ca/pipermail/ilds/attachments/20080425/7e3a939f/attachment.html From slighcl at wfu.edu Fri Apr 25 16:50:53 2008 From: slighcl at wfu.edu (slighcl) Date: Fri, 25 Apr 2008 19:50:53 -0400 Subject: [ilds] One-Volume Alexandria Quartet In-Reply-To: <19382848.1209151598077.JavaMail.root@elwamui-hound.atl.sa.earthlink.net> References: <19382848.1209151598077.JavaMail.root@elwamui-hound.atl.sa.earthlink.net> Message-ID: <48126E5D.40007@wfu.edu> On 4/25/2008 3:26 PM, Bruce Redwine wrote: > Charles? Oh, I know better than to start on this topic, Bruce. How to keep it short? Suffice to say, I think that Durrell found a rich imaginative resource in the tactile, sensual, material aspect of composition and creation. This discovery became prime in the decade-and-a-half period leading to the publication of the /Quartet/. His /Quartet /notebooks are elaborate particolored--even pied!--palimpsests of prose and pictorial "sketches" in different inks and different styles, impressions laid down on top of impressions, recollecting a tangle of different times, places, and peoples. I think that there is a meaningful correspondence between how Darley luxuriates, temporizes, and struggles with his materials in the storytime moment and how Durrell luxuriated, temporized, and struggled with his materials in the real-time actuality. And by materials I do not mean simply the "prose medium." I mean that the whole (imagined) material dossier of collected documents seems to somehow correspond to the real and extant material dossier of notebooks and typescripts out of which Durrell quarried and cobbled and assembled his /Justine/. We have discussed it before here, but I will say it again. As a young reader, I responded in a way that I still recall as thrilling to "bookishness" of the /Quartet/. I found myself moving back and forth between these jewel-colored bindings, /Justine/, /Balthazar/, /Mountolive/, and /Clea/, assembling meaning and undoing meaning in that Janus-faced kind of readerly after-glancing and afterthought that certainly occurs in most literary texts but which seems to occur at a heightened frequency here. And this was exciting because that seemed to be precisely what Darley was doing while he assembled and reshuffled his multiple documents within the story of the /Quartet/. Then there was the excellence of the Faber production of the original cloth-covered issues. Wolpe set the standard for mid-twentieth century house-style, and his team at Faber did much to make certain that the physical sensual aesthetic of Durrell's Alexandria found its tactile embodiment in the books as published 1957 - 1960. As Pater said in the 1880s, matter and spirit here are fused and blent, inextricably. I will include several images here that bring home this last point. The first is the distinctive Centaur typeface that Wolpe selected for Durrell's first editions of /Justine/, /Balthazar/, /Mountolive/, and /Clea/. I will remark how the end punctuation studs the prose with little embossed diamond-cut emphases, while the commas run along like kites high-strung across the old harbour. And then there also is the matter of oft-repeated exclamation markers in /Justine/--often literally, "Justine!" or "Melissa!"--which seem to ring out like struck scimitar when read in their original typographical format, which really does bring out the blade from the sheathe: Finally, here are Durrell's books set out on a shelf with some of Wolpe's other designs. Clearly Durrell had good fortune in finding such a designer. C&c. -- ********************** Charles L. Sligh Department of English Wake Forest University slighcl at wfu.edu ********************** -------------- next part -------------- An HTML attachment was scrubbed... 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Name: moz-screenshot-45.jpg Type: image/jpeg Size: 51651 bytes Desc: not available Url : http://lists.uvic.ca/pipermail/ilds/attachments/20080425/b44d4283/attachment-0002.jpg From marcpiel at interdesign.fr Sat Apr 26 03:29:27 2008 From: marcpiel at interdesign.fr (Marc Piel) Date: Sat, 26 Apr 2008 12:29:27 +0200 Subject: [ilds] One-Volume Alexandria Quartet In-Reply-To: <48126E5D.40007@wfu.edu> References: <19382848.1209151598077.JavaMail.root@elwamui-hound.atl.sa.earthlink.net> <48126E5D.40007@wfu.edu> Message-ID: <48130407.2000105@interdesign.fr> Perhaps it was not good fortune but simply shared sensibilities!!! Marc slighcl a ?crit : > On 4/25/2008 3:26 PM, Bruce Redwine wrote: >> Charles? > Oh, I know better than to start on this topic, Bruce. How to keep it > short? > > Suffice to say, I think that Durrell found a rich imaginative resource > in the tactile, sensual, material aspect of composition and creation. > This discovery became prime in the decade-and-a-half period leading to > the publication of the /Quartet/. His /Quartet /notebooks are elaborate > particolored--even pied!--palimpsests of prose and pictorial "sketches" > in different inks and different styles, impressions laid down on top of > impressions, recollecting a tangle of different times, places, and > peoples. > > I think that there is a meaningful correspondence between how Darley > luxuriates, temporizes, and struggles with his materials in the > storytime moment and how Durrell luxuriated, temporized, and struggled > with his materials in the real-time actuality. And by materials I do > not mean simply the "prose medium." I mean that the whole (imagined) > material dossier of collected documents seems to somehow correspond to > the real and extant material dossier of notebooks and typescripts out of > which Durrell quarried and cobbled and assembled his /Justine/. > > We have discussed it before here, but I will say it again. As a young > reader, I responded in a way that I still recall as thrilling to > "bookishness" of the /Quartet/. I found myself moving back and forth > between these jewel-colored bindings, /Justine/, /Balthazar/, > /Mountolive/, and /Clea/, assembling meaning and undoing meaning in that > Janus-faced kind of readerly after-glancing and afterthought that > certainly occurs in most literary texts but which seems to occur at a > heightened frequency here. And this was exciting because that seemed to > be precisely what Darley was doing while he assembled and reshuffled his > multiple documents within the story of the /Quartet/. > > Then there was the excellence of the Faber production of the original > cloth-covered issues. Wolpe set the standard for mid-twentieth century > house-style, and his team at Faber did much to make certain that the > physical sensual aesthetic of Durrell's Alexandria found its tactile > embodiment in the books as published 1957 - 1960. As Pater said in the > 1880s, matter and spirit here are fused and blent, inextricably. > > I will include several images here that bring home this last point. The > first is the distinctive Centaur typeface that Wolpe selected for > Durrell's first editions of /Justine/, /Balthazar/, /Mountolive/, and > /Clea/. > > > > I will remark how the end punctuation studs the prose with little > embossed diamond-cut emphases, while the commas run along like kites > high-strung across the old harbour. > > And then there also is the matter of oft-repeated exclamation markers in > /Justine/--often literally, "Justine!" or "Melissa!"--which seem to ring > out like struck scimitar when read in their original typographical > format, which really does bring out the blade from the sheathe: > > > > Finally, here are Durrell's books set out on a shelf with some of > Wolpe's other designs. > > > > Clearly Durrell had good fortune in finding such a designer. > > C&c. > -- > > ********************** > Charles L. Sligh > Department of English > Wake Forest University > slighcl at wfu.edu > ********************** > > > ------------------------------------------------------------------------ > > _______________________________________________ > ILDS mailing list > ILDS at lists.uvic.ca > https://lists.uvic.ca/mailman/listinfo/ilds From durrell at bigpond.com Sat Apr 26 00:56:15 2008 From: durrell at bigpond.com (durrell at bigpond.com) Date: Sat, 26 Apr 2008 17:56:15 +1000 Subject: [ilds] One-Volume Alexandria Quartet Message-ID: <20664627.1209196575904.JavaMail.root@nschwwebs01p> Dear Bruce....good to hear you again.... alas my past attempts to invite ilds members into e-discussions of LD's idiosyncratic and intense affective writing style have been blocked in parallel to my unceremonious ilds eviction....nevertheless it is noteworhty that LD certainly creates vigorous attachment behaviour in his literary disciples and understandably this is proportional to his evocative prose which foams with catalytic emotional potency that inevitably inoculates the limbic loops of the recipient mind....in short vulnerable truth seeking readers are prone to forms of emotional dependency and attachment behaviour if too many of LD's books are digested. I am delighted to hear you may be heading over to Australia as key note speaker for the inaugural meeting of the Australian Durrell Society in november08 perhaps we can explore the subjective emotive experiences of LD readers during this ADS meeting....best wishes DrD ---- Bruce Redwine wrote: > James sums it up neatly. I have the Faber omnibus edition (1962) and have never seen the Dutton version of same. I'm not a textualist, but I have noted small differences and variants (but no radical changes, so far) in the early editions and the 1962, which I've been told is authoritative. So, anyone doing scholarship should use that edition and avoid being chastised for sloppiness, unprofessionalism, or worse. > > I'm struck by recent comments on the tactile aspects of the Quartet, i.e., how first readings got imprinted, indelibly, onto readers' imaginations and how this turned into unnatural attachments to physical objects, i.e., the book themselves. I had the same experience. I wonder if reading Durrell is a perversion of some kind, to which the youth of a prior age were particularly susceptible. Dr. Anthony Durrell probably has professional observations on this topic. Charles gave a very good talk on this aspect of reading the Quartet at the conference in Victoria -- the physicality of the Quartet, that is, not its incitement to perversity. I hope he publishes it somewhere, preferably in the proceedings. Charles? > > > Bruce > > -----Original Message----- > >From: James Gifford > >Sent: Apr 25, 2008 9:01 AM > >To: ilds at lists.uvic.ca > >Subject: Re: [ilds] One-Volume Alexandria Quartet > > > >Hi Phillip, > > > >I think you can treat the /Dutton/ one volume as quite a find! Bruce > >and Charles appear to be the only ones among us with copies... I think > >it's identical to the Faber omnibus edition, except the front pages are > >reversed. Bruce? Charles? > > > >As for who to talk to about the changes, Charles did the pioneering work > >on that. Beatrice Skodili has discussed them as well, in her recent > >dissertation, though her interests were not bibliographical. > > > >There was some discussion of the matter on the list under the Justine > >Reading Group heading (see the archives with the [RG] markings): > > > >https://lists.uvic.ca/pipermail/ilds/ > > > >Alas, I'm afraid a bibliographical comparison of the editions in full > >does not yet exist in print. In general, the changes are fairly > >significant, but they're spread around throughout the books. My > >favourite to point out, perhaps mainly because I teach /Justine/, is the > >ending of the novel, the last sentence, the asterisk, and the moved > >objects in the preceding paragraph, etc... > > > >The changes from the proofs through to the first edition, its various > >corrections, and then the omnibus are quite fascinating. My tendency is > >to read them as emphasizing the thematic as well as the aesthetic aims > >of the book. > > > >Best, > >James > > > >Philip Walsh wrote: > >> Some while ago, I picked up a copy of the Dutton one-volume Quartet, but > >> I only looked at it recently. > >> > >> In an author's note, Durrell speaks of using the republication to make > >> some changes and speaks of removing sections from the novels and adding > >> some. Can anyone tell me just how extensive the changes are? Which > >> sections are cut, and which added? > >> > >> Thanks for any information. > >> > >> Philip Walsh > >> Ottawa, Canada > > > _______________________________________________ > ILDS mailing list > ILDS at lists.uvic.ca > https://lists.uvic.ca/mailman/listinfo/ilds From bredwine1968 at earthlink.net Sat Apr 26 07:53:30 2008 From: bredwine1968 at earthlink.net (Bruce Redwine) Date: Sat, 26 Apr 2008 07:53:30 -0700 (GMT-07:00) Subject: [ilds] One-Volume Alexandria Quartet Message-ID: <9864546.1209221610371.JavaMail.root@elwamui-royal.atl.sa.earthlink.net> I have to conclude that Dr. Durrell and Dr. Sligh are two sides of the same Durrellian coin, minted circa 1957. Flip it, and either side is a winner. Bruce -----Original Message----- >From: durrell at bigpond.com >Sent: Apr 26, 2008 12:56 AM >To: ilds at lists.uvic.ca, Bruce Redwine >Subject: Re: [ilds] One-Volume Alexandria Quartet > >Dear Bruce....good to hear you again.... alas my past attempts to invite ilds members into e-discussions of LD's idiosyncratic and intense affective writing style have been blocked in parallel to my unceremonious ilds eviction....nevertheless it is noteworhty that LD certainly creates vigorous attachment behaviour in his literary disciples and understandably this is proportional to his evocative prose which foams with catalytic emotional potency that inevitably inoculates the limbic loops of the recipient mind....in short vulnerable truth seeking readers are prone to forms of emotional dependency and attachment behaviour if too many of LD's books are digested. > >I am delighted to hear you may be heading over to Australia as key note speaker for the inaugural meeting of the Australian Durrell Society in november08 perhaps we can explore the subjective emotive experiences of LD readers during this ADS meeting....best wishes DrD >---- Bruce Redwine wrote: >> James sums it up neatly. I have the Faber omnibus edition (1962) and have never seen the Dutton version of same. I'm not a textualist, but I have noted small differences and variants (but no radical changes, so far) in the early editions and the 1962, which I've been told is authoritative. So, anyone doing scholarship should use that edition and avoid being chastised for sloppiness, unprofessionalism, or worse. >> >> I'm struck by recent comments on the tactile aspects of the Quartet, i.e., how first readings got imprinted, indelibly, onto readers' imaginations and how this turned into unnatural attachments to physical objects, i.e., the book themselves. I had the same experience. I wonder if reading Durrell is a perversion of some kind, to which the youth of a prior age were particularly susceptible. Dr. Anthony Durrell probably has professional observations on this topic. Charles gave a very good talk on this aspect of reading the Quartet at the conference in Victoria -- the physicality of the Quartet, that is, not its incitement to perversity. I hope he publishes it somewhere, preferably in the proceedings. Charles? >> >> >> Bruce >> >> -----Original Message----- >> >From: James Gifford >> >Sent: Apr 25, 2008 9:01 AM >> >To: ilds at lists.uvic.ca >> >Subject: Re: [ilds] One-Volume Alexandria Quartet >> > >> >Hi Phillip, >> > >> >I think you can treat the /Dutton/ one volume as quite a find! Bruce >> >and Charles appear to be the only ones among us with copies... I think >> >it's identical to the Faber omnibus edition, except the front pages are >> >reversed. Bruce? Charles? >> > >> >As for who to talk to about the changes, Charles did the pioneering work >> >on that. Beatrice Skodili has discussed them as well, in her recent >> >dissertation, though her interests were not bibliographical. >> > >> >There was some discussion of the matter on the list under the Justine >> >Reading Group heading (see the archives with the [RG] markings): >> > >> >https://lists.uvic.ca/pipermail/ilds/ >> > >> >Alas, I'm afraid a bibliographical comparison of the editions in full >> >does not yet exist in print. In general, the changes are fairly >> >significant, but they're spread around throughout the books. My >> >favourite to point out, perhaps mainly because I teach /Justine/, is the >> >ending of the novel, the last sentence, the asterisk, and the moved >> >objects in the preceding paragraph, etc... >> > >> >The changes from the proofs through to the first edition, its various >> >corrections, and then the omnibus are quite fascinating. My tendency is >> >to read them as emphasizing the thematic as well as the aesthetic aims >> >of the book. >> > >> >Best, >> >James >> > >> >Philip Walsh wrote: >> >> Some while ago, I picked up a copy of the Dutton one-volume Quartet, but >> >> I only looked at it recently. >> >> >> >> In an author's note, Durrell speaks of using the republication to make >> >> some changes and speaks of removing sections from the novels and adding >> >> some. Can anyone tell me just how extensive the changes are? Which >> >> sections are cut, and which added? >> >> >> >> Thanks for any information. >> >> >> >> Philip Walsh >> >> Ottawa, Canada From odos.fanourios at gmail.com Sat Apr 26 08:18:02 2008 From: odos.fanourios at gmail.com (James Gifford) Date: Sat, 26 Apr 2008 09:18:02 -0600 Subject: [ilds] One-Volume Alexandria Quartet In-Reply-To: <20664627.1209196575904.JavaMail.root@nschwwebs01p> References: <20664627.1209196575904.JavaMail.root@nschwwebs01p> Message-ID: <481347AA.8090300@gmail.com> Hello all, I don't want to intrude on this dialogue, but it's worth pointing out for the list that Anthony Durrell (no relation) from Australia has never been a member of the ILDS, nor would he be "ejected" if he signed up. Likewise, for the curious, he's chosen not to subscribe to this listserv, so he doesn't receive any emails unless he chooses to peruse the public archives -- again, he's welcome to sign up, and we continue to post the messages he sends us in the interest of being open, but he's chosen to have this as a monologue rather than a dialogue. An odd practise for a therapist... We may ask how this form of talk plays out in Durrell's talk therapy in /Justine/. Humm. As for the vulnerable truth seekers who become attached the fetish of particular books and particular editions (and particular copies), long may they thrive. Zizek, who has great fun with commodity fetishism, still has his favourite socks, and I have my favourite books. May truth seekers always be vulnerable, though I must admit that my particular hunt is for complexity. Best, James durrell at bigpond.com wrote: > Dear Bruce....good to hear you again.... alas my past > attempts to invite ilds members into e-discussions of > LD's idiosyncratic and intense affective writing style > have been blocked in parallel to my unceremonious ilds > eviction....nevertheless it is noteworhty that LD > certainly creates vigorous attachment behaviour in his > literary disciples and understandably this is > proportional to his evocative prose which foams with > catalytic emotional potency that inevitably inoculates > the limbic loops of the recipient mind....in short > vulnerable truth seeking readers are prone to forms of > emotional dependency and attachment behaviour if too > many of LD's books are digested. > > I am delighted to hear you may be heading over to > Australia as key note speaker for the inaugural meeting > of the Australian Durrell Society in november08 perhaps > we can explore the subjective emotive experiences of LD > readers during this ADS meeting....best wishes DrD > > From bredwine1968 at earthlink.net Sat Apr 26 09:40:15 2008 From: bredwine1968 at earthlink.net (Bruce Redwine) Date: Sat, 26 Apr 2008 09:40:15 -0700 (GMT-07:00) Subject: [ilds] One-Volume Alexandria Quartet Message-ID: <15023730.1209228015690.JavaMail.root@elwamui-ovcar.atl.sa.earthlink.net> Well said, Charles, but where and when will all this appear in print and preserved for all time? I also add that Durrell was very well served by David Gentleman, who did the covers for the Faber editions of the Quartet and the Quintet. Magnificent watercolors of the Egyptian countryside but -- strangely -- none of Alexandria itself. Bruce -----Original Message----- >From: slighcl >Sent: Apr 25, 2008 4:50 PM >To: Bruce Redwine , ilds at lists.uvic.ca >Subject: Re: [ilds] One-Volume Alexandria Quartet > >On 4/25/2008 3:26 PM, Bruce Redwine wrote: >> Charles? >Oh, I know better than to start on this topic, Bruce. How to keep it >short? > >Suffice to say, I think that Durrell found a rich imaginative resource >in the tactile, sensual, material aspect of composition and creation. >This discovery became prime in the decade-and-a-half period leading to >the publication of the /Quartet/. His /Quartet /notebooks are elaborate >particolored--even pied!--palimpsests of prose and pictorial "sketches" >in different inks and different styles, impressions laid down on top of >impressions, recollecting a tangle of different times, places, and >peoples. > >I think that there is a meaningful correspondence between how Darley >luxuriates, temporizes, and struggles with his materials in the >storytime moment and how Durrell luxuriated, temporized, and struggled >with his materials in the real-time actuality. And by materials I do >not mean simply the "prose medium." I mean that the whole (imagined) >material dossier of collected documents seems to somehow correspond to >the real and extant material dossier of notebooks and typescripts out of >which Durrell quarried and cobbled and assembled his /Justine/. > >We have discussed it before here, but I will say it again. As a young >reader, I responded in a way that I still recall as thrilling to >"bookishness" of the /Quartet/. I found myself moving back and forth >between these jewel-colored bindings, /Justine/, /Balthazar/, >/Mountolive/, and /Clea/, assembling meaning and undoing meaning in that >Janus-faced kind of readerly after-glancing and afterthought that >certainly occurs in most literary texts but which seems to occur at a >heightened frequency here. And this was exciting because that seemed to >be precisely what Darley was doing while he assembled and reshuffled his >multiple documents within the story of the /Quartet/. > >Then there was the excellence of the Faber production of the original >cloth-covered issues. Wolpe set the standard for mid-twentieth century >house-style, and his team at Faber did much to make certain that the >physical sensual aesthetic of Durrell's Alexandria found its tactile >embodiment in the books as published 1957 - 1960. As Pater said in the >1880s, matter and spirit here are fused and blent, inextricably. > >I will include several images here that bring home this last point. The >first is the distinctive Centaur typeface that Wolpe selected for >Durrell's first editions of /Justine/, /Balthazar/, /Mountolive/, and >/Clea/. > > > >I will remark how the end punctuation studs the prose with little >embossed diamond-cut emphases, while the commas run along like kites >high-strung across the old harbour. > >And then there also is the matter of oft-repeated exclamation markers in >/Justine/--often literally, "Justine!" or "Melissa!"--which seem to ring >out like struck scimitar when read in their original typographical >format, which really does bring out the blade from the sheathe: > > > >Finally, here are Durrell's books set out on a shelf with some of >Wolpe's other designs. > > > >Clearly Durrell had good fortune in finding such a designer. > >C&c. >-- > >********************** >Charles L. Sligh >Department of English >Wake Forest University >slighcl at wfu.edu >********************** > From bredwine1968 at earthlink.net Sat Apr 26 10:12:52 2008 From: bredwine1968 at earthlink.net (Bruce Redwine) Date: Sat, 26 Apr 2008 10:12:52 -0700 (GMT-07:00) Subject: [ilds] Durrells Message-ID: <485545.1209229972653.JavaMail.root@elwamui-mouette.atl.sa.earthlink.net> However Dr. Anthony Durrell (two syllables) chooses to communicate, I find his comments Delphic and always interesting, in the true spirit of his namesake, unrelated or not. Would he do more of it. Bruce -----Original Message----- >From: James Gifford >Sent: Apr 26, 2008 8:18 AM >To: ilds at lists.uvic.ca >Subject: Re: [ilds] One-Volume Alexandria Quartet > >Hello all, > >I don't want to intrude on this dialogue, but it's worth pointing out >for the list that Anthony Durrell (no relation) from Australia has never >been a member of the ILDS, nor would he be "ejected" if he signed up. >Likewise, for the curious, he's chosen not to subscribe to this >listserv, so he doesn't receive any emails unless he chooses to peruse >the public archives -- again, he's welcome to sign up, and we continue >to post the messages he sends us in the interest of being open, but he's >chosen to have this as a monologue rather than a dialogue. An odd >practise for a therapist... We may ask how this form of talk plays out >in Durrell's talk therapy in /Justine/. Humm. > >As for the vulnerable truth seekers who become attached the fetish of >particular books and particular editions (and particular copies), long >may they thrive. Zizek, who has great fun with commodity fetishism, >still has his favourite socks, and I have my favourite books. May truth >seekers always be vulnerable, though I must admit that my particular >hunt is for complexity. > >Best, >James > >durrell at bigpond.com wrote: >> Dear Bruce....good to hear you again.... alas my past > > attempts to invite ilds members into e-discussions of > > LD's idiosyncratic and intense affective writing style > > have been blocked in parallel to my unceremonious ilds > > eviction....nevertheless it is noteworhty that LD > > certainly creates vigorous attachment behaviour in his > > literary disciples and understandably this is > > proportional to his evocative prose which foams with > > catalytic emotional potency that inevitably inoculates > > the limbic loops of the recipient mind....in short > > vulnerable truth seeking readers are prone to forms of > > emotional dependency and attachment behaviour if too > > many of LD's books are digested. >> >> I am delighted to hear you may be heading over to > > Australia as key note speaker for the inaugural meeting > > of the Australian Durrell Society in november08 perhaps > > we can explore the subjective emotive experiences of LD > > readers during this ADS meeting....best wishes DrD From delospeter at hotmail.com Sun Apr 27 09:45:33 2008 From: delospeter at hotmail.com (PETER BALDWIN) Date: Sun, 27 Apr 2008 16:45:33 +0000 Subject: [ilds] One-Volume Alexandria Quartet In-Reply-To: <15023730.1209228015690.JavaMail.root@elwamui-ovcar.atl.sa.earthlink.net> References: <15023730.1209228015690.JavaMail.root@elwamui-ovcar.atl.sa.earthlink.net> Message-ID: The single volume ed of the Q which Fabers put out in 1986 as a reprint had Gentleman's watercolour of D's writing Tower at the Villa Ambron on the cover. Has the villa now been demolished? I am trying to work out the chronology of Justine's ceasing to be the single novel originally planned and becoming the first of the Quartet because to read J as a single stand - alone novel published without the anticipation of the next three heightens, I think, the readers emotional engagement I can't find a date in Brewster Chamberlin's Chronology for the delivery of the ts. to fabers, nor indeed a date for publication In D - M Letters we have D in c1/56 [ p 279 ] making no ref to a series tho by late '57 he envisages 'three more cuttings' Peter Baldwin> Date: Sat, 26 Apr 2008 09:40:15 -0700> From: bredwine1968 at earthlink.net> To: ilds at lists.uvic.ca> Subject: Re: [ilds] One-Volume Alexandria Quartet> > Well said, Charles, but where and when will all this appear in print and preserved for all time? I also add that Durrell was very well served by David Gentleman, who did the covers for the Faber editions of the Quartet and the Quintet. Magnificent watercolors of the Egyptian countryside but -- strangely -- none of Alexandria itself.> > > Bruce> > > -----Original Message-----> >From: slighcl > >Sent: Apr 25, 2008 4:50 PM> >To: Bruce Redwine , ilds at lists.uvic.ca> >Subject: Re: [ilds] One-Volume Alexandria Quartet> >> >On 4/25/2008 3:26 PM, Bruce Redwine wrote:> >> Charles?> >Oh, I know better than to start on this topic, Bruce. How to keep it > >short? > >> >Suffice to say, I think that Durrell found a rich imaginative resource > >in the tactile, sensual, material aspect of composition and creation. > >This discovery became prime in the decade-and-a-half period leading to > >the publication of the /Quartet/. His /Quartet /notebooks are elaborate > >particolored--even pied!--palimpsests of prose and pictorial "sketches" > >in different inks and different styles, impressions laid down on top of > >impressions, recollecting a tangle of different times, places, and > >peoples. > >> >I think that there is a meaningful correspondence between how Darley > >luxuriates, temporizes, and struggles with his materials in the > >storytime moment and how Durrell luxuriated, temporized, and struggled > >with his materials in the real-time actuality. And by materials I do > >not mean simply the "prose medium." I mean that the whole (imagined) > >material dossier of collected documents seems to somehow correspond to > >the real and extant material dossier of notebooks and typescripts out of > >which Durrell quarried and cobbled and assembled his /Justine/. > >> >We have discussed it before here, but I will say it again. As a young > >reader, I responded in a way that I still recall as thrilling to > >"bookishness" of the /Quartet/. I found myself moving back and forth > >between these jewel-colored bindings, /Justine/, /Balthazar/, > >/Mountolive/, and /Clea/, assembling meaning and undoing meaning in that > >Janus-faced kind of readerly after-glancing and afterthought that > >certainly occurs in most literary texts but which seems to occur at a > >heightened frequency here. And this was exciting because that seemed to > >be precisely what Darley was doing while he assembled and reshuffled his > >multiple documents within the story of the /Quartet/.> >> >Then there was the excellence of the Faber production of the original > >cloth-covered issues. Wolpe set the standard for mid-twentieth century > >house-style, and his team at Faber did much to make certain that the > >physical sensual aesthetic of Durrell's Alexandria found its tactile > >embodiment in the books as published 1957 - 1960. As Pater said in the > >1880s, matter and spirit here are fused and blent, inextricably. > >> >I will include several images here that bring home this last point. The > >first is the distinctive Centaur typeface that Wolpe selected for > >Durrell's first editions of /Justine/, /Balthazar/, /Mountolive/, and > >/Clea/.> >> >> >> >I will remark how the end punctuation studs the prose with little > >embossed diamond-cut emphases, while the commas run along like kites > >high-strung across the old harbour.> >> >And then there also is the matter of oft-repeated exclamation markers in > >/Justine/--often literally, "Justine!" or "Melissa!"--which seem to ring > >out like struck scimitar when read in their original typographical > >format, which really does bring out the blade from the sheathe:> >> >> >> >Finally, here are Durrell's books set out on a shelf with some of > >Wolpe's other designs.> >> >> >> >Clearly Durrell had good fortune in finding such a designer.> >> >C&c.> >-- > >> >**********************> >Charles L. Sligh> >Department of English> >Wake Forest University> >slighcl at wfu.edu> >**********************> >> > _______________________________________________> ILDS mailing list> ILDS at lists.uvic.ca> https://lists.uvic.ca/mailman/listinfo/ilds _________________________________________________________________ Bag extra points with the Walkers Brit Trip Game http://www.walkersbrittrips.co.uk/game -------------- next part -------------- An HTML attachment was scrubbed... URL: http://lists.uvic.ca/pipermail/ilds/attachments/20080427/0b639836/attachment.html From bredwine1968 at earthlink.net Sun Apr 27 12:02:18 2008 From: bredwine1968 at earthlink.net (Bruce Redwine) Date: Sun, 27 Apr 2008 12:02:18 -0700 (GMT-07:00) Subject: [ilds] Ambron Villa and Quartet Message-ID: <31754614.1209322938299.JavaMail.root@elwamui-wigeon.atl.sa.earthlink.net> The Ambron Villa still stands, along with its iconic tower, as of November 30, 2007, when I last saw it. I describe it and its pending fate in an article to appear in Arion, this summer. In short, the villa now belongs to an Alexandrian development company, which acquired it through a "secret sale." Read Mohamed Awad's article, "The House Revisited, The City Remembered," Deus Loci: The Lawrence Durrell Journal, NS7, 1999-2000. A very good summary of the situation. The company planned to demolish the villa and build an apartment complex on the site, but Awad and his friends appealed to the Egyptian Antiquities Organization and got a temporary restraining order. The ultimate fate of the villa remains highly uncertain, but many Alexandrians are actively trying to preserve their architectural heritage throughout the city. Re the genesis of the Quartet, from single novel to tetralogy, Michael Haag has pretty much solved that problem in great detail, at least to my satisfaction, if not to others. Haag delivered his argument at the last meeting of OMG meeting in Victoria, 2006. That talk should appear as an essay in a forthcoming issue of Deus Loci, although I have no idea when that will be. Since my memory about such things is rather faulty, I shall not attempt to summarize Haag's argument, except to provide the following tidbit, which I hope is accurate enough. Durrell originally conceived of Justine as a single novel, but after he met and hooked up with Claude Vincendon on Cyprus, she, a native Alexandrian, proved him with enough new material to expand one novel into four. So, you might say, the "heightened emotional involvement of the reader" parallels the same involvement of the author as he discovers himself or, at least, his excitement over the discovery of a long, unfolding project. Bruce -----Original Message----- >From: PETER BALDWIN >Sent: Apr 27, 2008 9:45 AM >To: Bruce Redwine , Durrell list >Subject: Re: [ilds] One-Volume Alexandria Quartet > > >The single volume ed of the Q which Fabers put out in 1986 as a reprint had Gentleman's watercolour of D's writing Tower at the Villa Ambron on the cover. Has the villa now been demolished? > >I am trying to work out the chronology of Justine's ceasing to be the single novel originally planned and becoming the first of the Quartet because to read J as a single stand - alone novel published without the anticipation of the next three heightens, I think, the readers emotional engagement > >I can't find a date in Brewster Chamberlin's Chronology for the delivery of the ts. to fabers, nor indeed a date for publication > >In D - M Letters we have D in c1/56 [ p 279 ] making no ref to a series tho by late '57 he envisages 'three more cuttings' From odos.fanourios at gmail.com Sun Apr 27 19:14:21 2008 From: odos.fanourios at gmail.com (James Gifford) Date: Sun, 27 Apr 2008 20:14:21 -0600 Subject: [ilds] CFP for MSA X in Nashville - 13-16 Nov 2008 Message-ID: <481532FD.1090401@gmail.com> "Networks of Late Modernism" Despite attempts to revisit our critical canons, the thirties remain the Auden Generation, as charted by Bergonzi, Hynes, and Cunningham. Yet, other groups and other movements have been repeatedly proposed to broaden this perspective, ranging from the notion of Late Modernism, the New Apocalypse, the Neo-Romantics, and so forth. This panel seeks to contextualize such debates through the literary and artistic networks of the 1930s and the decade after the war, including how they developed both from and beside their high modernist forebears. Proposals are particularly welcome on the artists whose careers were launched on the cusp of the war or in its aftermath, in many cases protracting their development or stifling recognition of vital and active international movements. Potential topics might include but are not limited to - poets of the New Apocalypse - English Surrealism & the London Exhibition - Late Modernism - The Freedom Press & Anarchist networks - Theatre of the Absurd - The Villa Seurat, Circle, and the Black Mountain poets - Scandinavian Modernisms - Mediterranean Modernisms - the Cairo Poets of WWII (and North Africa) - "Where are the War Poets?": WWII - the Scottish Renaissance - Poetry London and Fitrovia - the Freedom Defence Committee Global, international, or inter-cultural approaches to artistic networks are particularly encouraged, although networks or movements centred on individuals, specific locations, and events are also welcome. Please send a short abstract (maximum one page, double spaced) and brief scholarly biography (2-3 sentences) to James Gifford (gifford at uvic.ca) by 5 May 2008.