We are two part-time academics. Ellen teaches in the English department and Jim in the IT program at George Mason University.
Dear Marianne,
We’ll be off in a day or so for a conference on Anthony Trollope, an excuse for a time away in Devonshire in a tiny 19th century tower by an estuary (close by Exeter), and then London. We leave Yvette and Caroline to hold down the fort. (Plus I’ve told my neighbors Michelle and Scott.)
I hope to give a paper on Trollope’s "Comfort Romances for Men: Male Heterosexual Heroism in his Fiction". My focus in the last third is Trollope’s Ayala’s Angel, a book arguing for (and offering) deep aesthetic pleasure, beautiful places (including the green parks, countryside of England and Scotland and the historical magnificences of Rome), and idyllic erotic illusion as those realities in our existence which makes life worth enduring. The book’s alluring frontispiece, an picturesque depiction of the house and world in which the heroines were brought up, beckons us in:
"The most perfect bijou of a little house in South Kensington1"
I’ve two poems and some lines from a novel & screenplay to share.
By Judy Geater2:
Red Dress
Everyday words
fit like jeans,
snug against my hips
and the slight sag of my waist.
No need to to check the label
and whether this will wash.
But now I want to leave aside
the comfort of old clothes and
words which have been said.
Somewhere I will find
the red dress I could never afford.
Vivid fabric spun from longing,
the one slash of colour
in a black and white film,
Words that are mine to keep.
I can taste their starkness.
But on the pegs
hang only dresses made from other patterns,
with colours that will fade.
By Anne Stevenson:
Walking Early by the Wye
Through dawn in February’s wincing radiance,
every splinter of river mist
rayed in my eyes.
As if the squint of the sun had released light’s
metals. As if the river pulsed white,
and the holly’s
sharp green lacquered leaves leaped acetylene.
As if the air smouldered from the ice of dry
pain, as if day
were fragmented in doubt. As if it were given
to enter alive the braided rings Saturn
is known by
and yet be allied to the dyke’s heaped mud.
I will not forget how the ash trees stood,
silvered and still,
how each soft stone on its near shadow knelt,
how the sheep became stones where they built
their pearled hill.
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Judy’s connects to Ayala whose theme and moods include how the vision of beauty and joy some apprehend inevitably fades before the realities of life, time, and chance, a vision also not to be understood by those who’ve never experienced it2.
For me Anne Stevenson’s connects to my long-time favorite 18th century poet, Anne Finch, Countess of Winchilsea (1661-1720), who, as I wrote this morning on Wompo, has a bad nervous breakdown in the 1690s, and lived for a time in Wye College, an at the time ruined religious house not far from her husband’s family’s "seat," Eastleigh. There she restored herself and began to write her great landscape poetry.
The Wye also brings to mind Austen’s love of Gilpin and picturesque art, and by association, her Persuasion (Lyme is in Devonshire) and so on to the (in context) heart-achingly suggestive retreat by a hero’s beloved English gentleman-friend, Madox, "’Come visit us in Dorset … You’ll never come’ ... " The invitation is uttered in Minghella’s screenplay, The English Patient (pp. 136-37), which in the original novel (Michael Ondaatje’s English Patient), was to Somerset and enclosed by an ironic dialogue and exchange in friendship: "’May God make safety your companion,’ ‘There is no God’. We were utterly unlike one another" (1992 Vintage, "The Cave of Swimmers", p 241).
Full circle. We went to Somerset last summer with the girls.
A toute a l’heure,
A time away,
Elinor
1 See also Storytelling through Pictures: Robert Greary’s illustrations for Ayala’s Angel, and the members of Trollope-l reading Ayala’s Angel together, January through March 2001.
2 See her "Winter", and "Studio Still".
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Posted by: Ellen
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