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20120601121208 Cover Art: Slightly Foxed Issue 34, Ed Kluz, ‘The Silver Fox’ Ed Kluz was raised in the Yorkshire Dales and now lives in Brighton. He studied painting at the Winchester School of Art. He is a printmaker, illustrator, painter and designer, and finds inspiration in the historical objects, buildings, landscape and folklore of Britain. His eyes look into the past but his feet are firmly in the present: www.edkluz.co.uk

Slightly Foxed Issue 34: From the Editors

Gail Pirkis & Hazel Wood

Summer: the season of literary festivals, and Slightly Foxed is on the road. Our travels began early with an appearance, with author and contributor Penelope Lively, at the Words by the Water Festival in Cumbria in early March. Later that month we were at Christ Church, Oxford, for the first in what we hope will be a regular series of Slightly Foxed talks on forgotten authors at the Oxford Literary Festival. This year the philosopher and critic John Gray delivered a brilliant and entertaining talk on the work of John Cowper Powys, arising from the piece he wrote in our spring issue, neatly placing Powys as ‘an outdoor Proust’. On 14 June we’ll be launching the summer issue at Mr B’s cosy and very individual bookshop in Bath. And on Sunday 8 July we’ll be appearing at the West Meon Literary Festival in Hampshire with our contributor and prize-winning biographer Maggie Fergusson.
20120601111245 Ariane Bankes on lettering and commemorative engraving

Fitting Memorials

Ariane Bankes on lettering and commemorative engraving

As soon as I could hold a pen I was taught copperplate script by my splendidly bossy elder sister, who was determined to pre-empt any teacher’s pernicious influence. I can still remember the thrill of achieving an infant version of that delicate balance between broad sweep and fine line, of swooping between upper and lower registers, creating delicious patterns on the page that actually meant something. From that promising start my handwriting has deteriorated steadily over the decades, but friends say they still see some trace of its origins, and one legacy of that early tuition is my lifelong love of lettering. As teenagers we biked around East Anglian churches with tubes of paper and blocks of wax crayon poking out of our baskets, alighting to tease out vigorous impressions of ancient brasses in dusty naves, the curlicues of their script imperfectly ghosting through the paper, and I have haunted country graveyards with their slanting stones and lichened legends ever since.
20120601111244 Anthony Gardner on Nicholas Best, Daniel Macklin

A Term at Haggard Hall

Anthony Gardner on Nicholas Best, Tennis and the Masai

Over the years I have been sent many proof copies of books, but very few that I have bothered to keep. They are, in general, unattractive creatures, with their misprints and vainglorious boasts of future bestsellerdom. But in a corner of an attic shelf I have half a dozen which seem too interesting to throw away, and chief among them is Nicholas Best’s Tennis and the Masai. The mere sight of its dog-eared, pale green cover – embellished only by the Hutchinson logo, with its curious resemblance to a buffalo’s skull – is enough to lift my spirits.
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The Liquid Plains of the Sea

Andy Merrills on Fernand Braudel, The Mediterranean and the Mediterranean World in the Age of Philip II

An enthusiastic bibliophile in a certain frame of mind could construct quite a library made up entirely of books that were written in prison. The poetry section would have the esoteric colour of Le Morte d’Arthur and Ezra Pound’s Pisan Cantos; political thought would be unusually well stocked, with The Consolation of Philosophy and The Prince vying for attention with Gramsci’s Prison Notebooks; and those with an off-beat sense of humour might enjoy the juxtaposition of John Bunyan’s Pilgrim’s Progress with John Cleland’s Fanny Hill. For me, though, the particular highlight of the library would be the history section, in which pride of place would certainly be granted to Fernand Braudel’s monumental work The Mediterranean and the Mediterranean World in the Age of Philip II (1949).
20120601111230 Nicholas Murray on Aldous Huxley, Mark Handley

Blight, Mildew and Smut

Nicholas Murray on Aldous Huxley, Crome Yellow

One of the consequences of being Aldous Huxley’s biographer was that I was invited to Eton, where a 17-year-old schoolboy with the bearing of a middle-aged barrister extended a hand and told me he had read Crome Yellow ‘in my father’s library’. In my mind’s eye I saw a book-lined room opening on to a stone terrace in some country pile like the one in the novel. But then I remembered that the book had been written in a shady back street in the Tuscan seaside resort of Forte dei Marmi in the hot early summer of 1921.
20120601111229 Tim Mackintosh-Smith on Robert Byron, The Road to Oxiana

From Harry’s Bar to Delhi

Tim Mackintosh-Smith on Robert Byron, The Road to Oxiana

‘What Ulysses is to the novel between the wars and what The Waste Land is to poetry, The Road to Oxiana is to the travel book.’ So says Paul Fussell in the first puff on the back cover of my thirty-year-old paperback edition of Robert Byron’s 1937 masterpiece. Now, as it happens, Professor Fussell – or rather his Abroad: British Literary Traveling between the Wars – is sitting next to me, and what he actually said was, ‘Its distinction tempts one to over-praise, but perhaps it may not be going too far to say that what Ulysses is to the novel . . .’ etc. In the puff, the professorial hedging has been entirely clipped away. Still, it is high praise indeed. Is it deserved? That old stirrer Wilfred Thesiger thought The Road to Oxiana, far from being the great transformative work of twentieth-century travel, was ‘a lot of nonsense’.
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Iced Tea and Hospitality

Marie E. Wicks on Jan Karon, The Mitford Years

At certain times in my life, I have opened a book and discovered a friend. I have chuckled with Anne Shirley over her comical escapades in the quiet town of Avonlea. I have stood under the watchful eye of Aunt Polly and scolded Tom Sawyer for skipping school, only to shrug and offer to whitewash the fence for him once her back was turned. Once I even considered inviting Jo March to dinner, though this idea was quickly dismissed, for I felt quite certain that Jo would go nowhere without her three sisters in tow and before I knew it the entire March clan would show up at my door, for which I had neither the time nor the energy. At this thought I poured myself a cup of tea, took Little Women down from the bookshelf, and visited Jo at her house instead.
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Potentate of the Polysyllable

John Walsh on Anthony Burgess, The Complete Enderby

Logorrhoeac, polymagisterial, omniglottal, panchromatic, Anthony Burgess was the most wordy literary figure I have ever met. I use those faintly ludicrous terms of praise because, before I met him, I was hardly aware of their existence. He employed them, with a thousand variants, all the time, in a dozen languages. He was the potentate of the polysyllable. To him, language was a currency: he loved to employ five-, ten- and twenty-pound words, abstruse Latinate constructions, arcane ‘inkhorn terms’, throwing them around like a sailor on shore leave, to show his enthusiasm for the world as he encountered it, a battlefield of huge, mostly ancient ideas which only he, like a twentieth-century Casaubon, could synthesize, using all the words in the dictionary.
20120601111224 Richard Conyngham on the London Library

You Won’t Look Back

Richard Conyngham on The London Library

When the editors of Slightly Foxed first suggested I take my editorial work to the London Library, I confess I knew very little about the place. From afar, it seemed a refuge for posh authors and a pitstop for peers en route to their clubs, not a place for an unkempt youth like me. And yet, at the Slightly Foxed office, the situation was becoming urgent. With the cocker spaniels growing increasingly distracting and the phones always ringing, how was the editorial assistant ever to do his work? The London Library was the obvious solution, but then there was the issue of the membership fee.
20120601094343 Ralph Harrington on C. A. Gibson-Hill, Kathleen Lindsley

The Bird Man of Singapore

Ralph Harrington on C. A. Gibson-Hill, British Sea Birds and Birds of the Coast

Some bird books, the ones you take with you across mountains, into bogs or through jungles, are small in size, compact and easy to stuff into backpack or pocket, offering ready reference in all locations and in all weathers. C. A. Gibson-Hill’s British Sea Birds is not of that kind. A large hardback, too cumbersome to take into the field, intended for the shelf in library or study, it is a work of education and of celebration. It was written by a man who loved birds for others who shared his passion, to enlighten and delight; and it merits the highest compliment one can pay to such a book – it makes one want to go out and see the birds for oneself, to get to know them as he did.
20120601171658 Robin Blake on Peter Russell, Slightly Foxed Issue 34

Of Love and Lentils

Robin Blake on Peter Russell, The Elegies of Quintilius

Alone among the ancient classical verse forms the elegy endures as a modern one. In Augustan Rome – the world of Caesar and Cicero, but also of the elegists Catullus, Propertius and Ovid – the public uses of poetry included epic history, theology, scientific reports and political theory. To write such things in verse now would look clownish, but the spirit of Roman elegy lives on and is, indeed, at the heart of what we call poetry.
20120601173159 Justin Marozzi on Ahmed Hassanein Bey, The Lost Oases

Desert Wisdom

Justin Marozzi on Ahmed Hassanein Bey, The Lost Oases

I first came across Ahmed Hassanein Bey when bumping across the Libyan Sahara by camel with a friend. This was long before Kindles and iPads helped the bibliophile traveller lighten his load. Between us we had a slightly hodgepodge library consisting of a Koran, a New Testament (a Christmas present from my mother, inscribed with Deuteronomy 2:7: ‘The Lord your God has blessed you in all the work of your hands. He has watched over your journey through this vast desert’), some Oscar Wilde short stories, P. G. Wodehouse, Trollope, the complete works of Shakespeare, a volume of poetry, Homer’s Odyssey and an Arabic language book. Lawrence’s Seven Pillars of Wisdom and Hassanein Bey’s The Lost Oases completed the collection to be borne across the desert by our diminutive caravan of five camels: Asfar, Gobber, The Big White, Bobbles and Lebead.
20120601170523 Alberto Manguel on Kenneth Grahame, The Wind in the Willows, E. H. Shepard

Return to Arcadia

Alberto Manguel on Kenneth Grahame, The Wind in the Willows

Several times, during a long life of reading, I’ve been tempted to write an autobiography based solely on the books that have counted for me. Someone once told me that it was customary for a Spanish nobleman to have his coat of arms engraved on his bedhead so that visitors might know who it was who lay in a sleep that might always be his last. Why then not be identified by my bedside favourites, which define and represent me better than any symbolic shield? If I ever indulged in such a vainglorious undertaking, a chapter, an early chapter, would be given over to The Wind in the Willows.
20120601152029 No. 18 Elspeth Huxley, The Flame Trees of Thika

A Child in Africa

Annabel Walker on Elspeth Huxley, The Flame Trees of Thika

Most people have some memories of early childhood that remain vividly with them through life. Sometimes they are impossible to describe, being chiefly a quite indefinable feeling prompted by opening a particular book, or an atmosphere conjured by hearing a certain piece of music. Others are more easily converted into words: the details of a flower found in a lawn, the pattern on a hall floor, the smell of a great-aunt’s sitting-room.