[ilds] Roessel and Vincent on Durrell and Gourna

[Bruce Redwine]

1.  Homosexuality is a big topic in Durrell’s oeuvre, so I think it relevant that the authors chose to slip in a reference to Austen Harrison’s “tendencies.”

2.  At the end of their essay, Roessel and Vincent refer to Durrell’s 1978 piece in the NYT, “Egyptian Moments,” renamed “With Durrell in Egypt” in Gifford’s edition of From the Elephant’s Back (2015).  They apparently thought it appropriate that Durrell give Hassan Fathy some credit for his contribution to what ultimately turned into Tunc and Nunquam.

3.  Durrell’s knowledge of Upper Egypt seems faulty or indifferent.  (Which is not surprising considering that he told Miller he “loathed” Egypt.)  So he can get his geography wrong when he describes Darley spending two years as a school teacher somewhere beyond the Delta.

Bruce





> On Mar 18, 2016, at 2:08 AM, mail at durrelllibrarycorfu.org wrote:
> 
> Someone on this list forwarded Bruce's questions and comments (below) since the  original (as so often with this list)  never reached me.
> Regarding Austen Harrison, LD did consult him about building matters: I have quoted the questions he posed to Harrison ("What is a theodolite? What does it do?"....) on p.315 of my "Mindscape" (2nd edn). The Durrell Libraryof Corfu has copies of LD's typed questions, with Harrison's handwritten replies.
> Regarding the origins of "Tunc/Nunquam" I have not yet seen the Roessel/Vincent article yet, altho I'm aware that they have been working on this subject for many years now. The fons et origo, as far as the architectural side of things go, was the story "Village of Turtle Doves", which morphed into the full-length (and unpublished) "The Placebo".
> Regarding the Caradoc/Harrison possible inspiration, why not? I was not aware that Harrison was homosexual, and maybe that is not what Roessel/Vincent have in mind. And so what? If (let's say) Harrison was the ONLY architect with whom LD was friendly, why should Caradoc not have some (repeat: SOME) of Harrison's characteristics? Is Caradoc homosexual? is, perhaps a more important question for critics than Harrison's sexual orientation, which may or may not be a matter for architectural historians, not literary critics. Perhaps the ferrets would like to concentrate on his first neme being taken from that of a woman novelist to whom he is said to have been related?
> As to whether or not LD knew of Gourna and whether or not, if he did, he should have acknowledged Fathy's work, I think it's likely that he did know of the plan to rebuild the old village, but why in a work of fiction should he be obliged to signpost a 'real' project or its architect? This is taking fiction too far. We might as well say that a novel in which the earth goes round the sun should acknowledge Galileo as a source. This is for people who cannot read books except to criticise them. 'Enjoy!' was NOT written above the door of the Academy, it seems.
> RP
> 
> David Roessel and Gerald L. Vincent?s ?A Tale of Two Villages:  Lawrence Durrell, Hassan Fathy, and the Story of Gourna,? Deus Loci, NS 14 (2014-2015):  85-103.
> 
> A couple of questions and a comment about this informative article.
> 
> 1.  As the authors indicate, the village of Gourna is in Upper Egypt, on the west bank of the Nile, opposite Luxor on the east bank.  I seriously doubt that Durrell was ever aware of the village during his stay in Egypt.  In fact, Durrell?s knowledge of Upper Egypt seems to have been very limited.  Chamberlin in his Chronology mentions Durrell undertaking a ?brief holiday? to Aswan in 1943.  I can find no other mention of travels up the Nile during LD?s first stay in Egypt.  Is this correct?
> 
> 2.  Austen Harrison was Durrell?s close friend, to whom he dedicated Bitter Lemons.  The authors indicate Harrison shared Scobie?s ?tendencies?:  ?Durrell surely knew that Harrison had them [?tendencies?].?  Have I missed something?  Harrison was a homosexual?
> 
> 3.  The authors conclude by mildly criticizing Durrell for not mentioning that Hassan Fathy?s village and book inspired his future work.  This is not plagiarism, as has been previously discussed, but it is typical of Durrell?s method?he frequently conceals his sources, either deliberately or not.   In 1978, Durrell publishes a travel piece on his return to Egypt (NYT?s ?Egyptian Moments,? see Gifford?s Elephant?s Back, pp. 359-78).  Roessel and Vincent believe that Durrell should have ?inform[ed]? his ?reader? of indebtedness to Fathy (p.94).  I agree.
> 

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