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TSE  December 2010

TSE December 2010

Subject:

Re: The two Mrs Eliots - an interview with Valerie Eliot

From:

"Rickard A. Parker" <[log in to unmask]>

Reply-To:

T. S. Eliot Discussion forum.

Date:

Thu, 16 Dec 2010 19:13:21 -0500

Content-Type:

text/plain

Parts/Attachments:

Parts/Attachments

text/plain (710 lines)

Carrol Cox wrote:
> I can't handle web sites. 

Here, I've converted it to text for you. There is going to be some
word wrap problems though.



The two Mrs Eliots: Since the death of T S Eliot in 1965, his second wife,
Valerie, has been an exemplary literary widow, fiercely guarding her
husband's estate and turning the editing of his letters into her life's
work. She rarely gives interviews. But the release of Tom & Viv, a glossy
film about Eliot and his first wife Vivienne, has prompted her to talk

    BLAKE MORRRISON

    Sunday, 24 April 1994


    RECLUSIVE. Gregarious. Obstructive. Vivacious. Calm. Incandescent. The
    adjectives commonly used about Valerie Eliot can't help but arouse
    curiosity. Can one person possibly be all these things at the same
    time, or even at different times? It seems unlikely, but in any case
    they are not the adjectives that come to mind as Valerie Eliot enters
    the penthouse boardroom of Faber & Faber's offices in Queen Square.
    Anxious would be nearer the mark, jumpy, apprehensive. Her nerves are
    bad today: newspapers have been putting her under increasing pressure
    to talk - 'Speak . . . Why do you never speak. Speak' - and finally,
    with gentle encouragement from her publishers, she has agreed to an
    interview. 'I feel sick,' she says, as John Bodley (who, a fellow
    Faber editor once teasingly wrote, 'earns his salary / by looking
    after Valerie') ushers her into a seat and pours her a calming glass
    of red wine.

    In her position, who wouldn't feel sick? A film has just appeared
    which alleges, or has caused journalists to allege, and which will
    allow large audiences to believe, the following things about her late
    husband:

    1 That he took the credit for writing poetry, notably parts of The
    Waste Land, in fact written by his first wife, Vivienne.

    2 That he betrayed his deep love for Vivienne (and his muse) in his
    crawly eagerness to become a member of the British literary and
    religious establishment.

    3 That he was cold, ruthless, self-absorbed.

    4 That he got hold of Vivienne's money by becoming an executor of her
    father's estate.

    5 That he incarcerated Vivienne in a mental institution when she was
    in sound mental health, cruelly refused to visit her, and - while he
    went on to enjoy world renown - allowed her to languish there for nine
    years until, cheated and neglected, she died of heart failure at 58.

    Tom & Viv, claim those who made it, is a 'truly passionate, tragic and
    wonderful story about an extraordinary couple who found great love but
    couldn't handle it'. It will, they say, 'enhance' T S Eliot's
    reputation by showing how his art, which he liked to pretend was
    'impersonal', grew directly out of his life. Well, they would say
    that, wouldn't they? But they have been saying other things as well.
    Michael Hastings, who wrote the original play Tom and Viv and co-wrote
    the screenplay for the film, last week characterised T S Eliot for
    readers of the Evening Standard as one of five American 'fascists' who
    have had a malign influence on modern culture (the others were D W
    Griffith, Walt Disney, Henry Ford and Frank Lloyd Wright). And while
    Tom is being written off or written out of literary history, Viv is
    being instated as 'an exceptional talent, a vivacious and brilliant
    woman, who . . . was brave enough to put her vision of what a woman's
    role could be into practice'. That's the view of the film's producer,
    Harvey Kass. Miranda Richardson, who plays Viv, takes a similar line,
    describing her as 'a truth-seeker . . . a free spirit who spoke her
    mind. (She) was a writer herself but nobody noticed. They were too
    busy lionising her husband.'

    The celebration of the first Mrs Eliot as the real writer in the
    marriage must leave the second Mrs Eliot feeling very odd. For nearly
    half a century, Valerie Eliot has devoted herself to the service of
    TSE. As a 14-year-old schoolgirl she experienced a 'revelation' on
    hearing John Gielgud read 'Journey of the Magi'. At 18 she resolved to
    work for Eliot. At 22 she was taken on as his secretary. At 30 she
    married him (he was then 68). At 38 she became his widow and the
    executor of his estate.

    It is Valerie Eliot who edited the marvellous facsimile edition of The
    Waste Land. It is she who is editing his collected letters. It is she
    who grants or denies permission to quote from his work - a position
    which has led some to portray her as a dragon guarding a cave of ugly
    secrets. And now there's this film, based on a play which has already
    done damage enough to her husband's reputation, threatening to lodge
    him forever in the public imagination as a mean old bastard who locked
    up his first wife and didn't even compose his own work.

    Despite reports of her 'fury' at the film, the truth is that Valerie
    Eliot hasn't seen it yet. Some weeks ago I invited her to a press
    preview, but word came back from Faber that the Daily Mail had made
    the same proposal and that she thought it rather a hack idea: 'A press
    showing would be too public, anyway,' I was told. 'She'll probably
    sneak in somewhere incognito.' So far she hasn't. She didn't see the
    original Michael Hastings play, either, though she did hear it on the
    radio. Nor has she read Peter Ackroyd's biography. So her alleged
    anger with the book, the play and the film is not based on an intimate
    knowledge of them.

    Valerie Eliot is tempted to let the brackish waters ebb away and
    simply get on with her work. She feels that when she does open her
    mouth to journalists she is always misrepresented or sold short. For
    example, one diarist quoted her as saying that in editing Eliot's
    letters she had 'learnt rather a lot about my husband I didn't know'.
    What she actually said, more interestingly, is that she had discovered
    things he didn't know - such as the fact that the last letter he sent
    to Ezra Pound, which he feared had never reached him, was found in
    Pound's dressing-gown pocket by his daughter two years after Old Ez's
    death.

    So Mrs Eliot is wary of dishing out quotes. But silence at present
    will imply an acceptance of the thesis of Tom & Viv. And though she
    may not have seen the film, she can't escape it. Not even the dentist
    is safe: when she went there the other day, she was told that he'd
    just done the teeth of a woman boasting that her daughter had written
    the film's theme music. There's no getting away from it. It's time to
    speak up for Tom. This is why Mrs Eliot is feeling sick.

    ONE OF the key scenes in Tom & Viv shows a spry and sane Vivienne
    being asked to solve two difficult logical puzzles. Tom is present
    during the interrogation. Viv gets one of the answers wrong and is
    declared insane. A few days later, with his implied consent or
    acquiescence, she is dragged brutally out of a cafe (where she has
    been calmly taking a toast and tea with her friend Louise Purdon) and
    hauled off in a van to the loony bin.

    I describe these incidents to Valerie Eliot, who sits across the
    table, light blue eyes, royal blue dress, powdery face, golden hair,
    golden earrings. 'Oh, it's pathetic, isn't it?' she says. 'The whole
    point of Vivienne going into a nursing home was to be cared for,
    because she wasn't capable of looking after herself. Tom wasn't even
    there at the time of the committal - they'd been separated for five
    years, and he was away in the country. There . . .' she says, fishing
    in her bag. 'Read that.'

    'That' is the photostat of a letter written to Tom by Vivienne's
    brother, Maurice Haigh- Wood, on 14 July 1938. It seems to blow Tom &
    Viv out of the water.

    Dear Tom,

    I am very sorry to have to write to you on your holiday but I'm afraid
    I must.

    V. was found wandering in the streets at 5 o'clock this morning and
    was taken into Marylebone Police Station. . . . The Inspector at the
    Police Station told me she had talked in a very confused and
    unintelligible manner and appeared to have various illusions, and if
    it had not been possible to get hold of me or someone to take charge
    of her, he would have felt obliged to place her under mental
    observation.

    As soon as I got to the City I rang up Dr Miller . . . He got a reply
    from (Allen & Hanbury's, chemists) this morning in which they said
    that V. called every day for her medicine, that she appeared to be in
    a deplorable condition and that they had no idea of her address. Dr
    Miller was therefore on the point of writing to me because he feels
    that something must be done without much more delay . . . (He) feels
    V. must go either to Malmaison (a sanatorium near Paris) or to some
    home, and I am also inclined to think that, because there is no
    telling what will happen next.

    V. had apparently been wandering about for two nights, afraid to go
    anywhere. She is full of the most fantastic suspicions and ideas. She
    asked me if it was true that you had been beheaded. She says she has
    been in hiding from various mysterious people, and so on.

    I have made a provisional appointment with Dr Miller for 3.15pm
    tomorrow (this was before I discovered you were away).

    I really don't know whether to suggest your running up to town
    tomorrow and returning to Gloucestershire in the evening, or not. You
    will be able to decide that yourself, but I would be grateful if you
    would send me a telegram in the morning to say what you decide.

    Yours ever,

    Maurice

    There is also a second letter from Maurice to Tom, dated 14 August
    1938, exactly a month later. This describes how Vivienne had been
    taken to see two different doctors, Dr Hart and Dr Mapother, and the
    subsequent committal:

    Both doctors felt strongly that she should be put into a home. They
    handed me their certificates. I then had to go before a magistrate to
    obtain his order. I got hold of one in Hampstead.

    I then went to Northumberland House, saw the doctor there, & arranged
    for a car to go with 2 nurses to Compayne Gardens that evening. The
    car went at about 10pm. Vivienne went very quietly with them after a
    good deal of discussion.

    I spoke to the doctor yesterday evening, & was told that Vivienne had
    been fairly cheerful, had slept well & eaten well, & had sat out in
    the garden & read a certain amount . . .

    I gather . . . that Vivienne was in the habit often of saving up her
    drugs & then taking an enormous dose all at once, which I suppose
    accounts for the periodical crises.

    As soon as you get back I should very much like to see you . . .

    Yrs ever,

    Maurice

    It is not clear what action Eliot himself took during the month
    between these letters, but it is clear that he was not directly
    involved in Vivienne's committal.

    'The point,' says Valerie Eliot, 'is that if the doctors and police
    hadn't acted with the best of intentions, Vivienne would have had an
    early grave. She was put there for her own safety, because the doctors
    thought she was in need of care and she wouldn't go voluntarily.
    Maurice was desperate to have Tom involved, because he wanted his hand
    held. But Tom was away, and separated from Vivienne in any case, so
    Maurice had to see to things himself.

    'Northumberland House, where Vivienne went, wasn't a mental hospital
    as we understand it today, but a glorified nursing home, where degrees
    of restraint were necessary. It had a big garden, which Vivienne
    liked. It was divided into three houses - Vivienne was in the nicest
    part, the Villas, where the patients who needed least watching lived.
    They only moved her when she began stealing from and worrying other
    patients. She stirred up a lot of havoc in the place, apparently.'

    Why didn't Tom visit her?

    'Because the doctors had told him he mustn't. He lost his hair, you
    know, at one stage earlier, worrying about her. But he did get regular
    reports, through his solicitors, on how she was doing. And because
    she'd been made a Ward in Chancery, there was this outside person
    looking after her interests. I'm quite sure that if a doctor had said,
    'She can come out,' Tom or Maurice would have done something about it.
    Hastings says that Maurice later regretted keeping her there, but I
    talked to Maurice for many hours - he used to come and see me to
    discuss his problems, especially with his son, who was unstable, too,
    and who eventually comitted suicide. I'd pour whisky down him and he'd
    talk and talk - but he never expressed regret to me. He must have
    realised it was for her own good.

    'In any case Vivienne didn't want to leave. During the war, Tom
    wondered if she shouldn't be moved to Brighton or somewhere, with a
    private nurse, in case of being bombed. But she felt safe and
    protected there.'

    To reinforce the point, Valerie Eliot produces another letter from her
    bag, written by someone who'd been a friend of Tom and Viv when they
    were married, and who had visited Northumberland House. The letter
    quotes a remark Vivienne once made - 'I think it must be dreadful to
    have children, to think that you might pass on something of yourself'
    - and describes how 'every time she was found a place, she refused to
    leave. Either she'd become friendly with a nurse, or a doctor, or she
    said she had won a privilege where she was and didn't want to give it
    up. Sometimes she would seem fairly normal, though the frightening
    glare was almost always there.' The 'frightening glare', says Valerie,
    was something that had also alarmed Ezra Pound's wife Dorothy some
    years earlier, when she'd been left alone with Vivienne over tea and
    saw her eyes fix on a knife on the table.

    What does Valerie think of the theory that if Vivienne had lived
    today, her illness - the hysteria, her almost constant menstruation,
    her hormonal imbalance - could have been cured?

    'It's pure speculation, like the idea that if Keats had been born
    later he might not have died of TB. You have to remember that Vivienne
    went to see some of the top doctors of the day in both France and
    England, and also one in Germany recommended by Ottoline Morrell.
    Anyone they'd heard was any good, Tom tried - he took every care, I
    think. She had the best treatment - you can't tell me that all the
    doctors were half-witted.'

    VALERIE ELIOT takes another sip of red wine and begins to feel less
    sick. It isn't a pretty or endearing position to be in - having to
    insist on the madness of your husband's first wife. Still, if clearing
    Tom's name requires it, it's work she seems quite willing to
    undertake.

    'Tom used to say that Vivienne had one emotion only, and that was
    fear. He thought she'd been philandered with before he knew her. She
    was in Paris once, and lay under the bed at the Pounds' house,
    cowering in terror because there was a storm. When a friend told her
    about going to a weekend cottage where the electricity was normally
    turned off, she replied: 'How horrible: you could be murdered before
    the light came on.' And she requested in a letter that when she died
    her body was to be cut open to make sure she really was dead - she was
    so afraid of being buried alive.

    'I think if Tom hadn't taken the job at the bank, the marriage would
    never have lasted as long as it did. Even there she would ring him up,
    you know, and ask him to come home to make her hot carrot juice. And
    he'd have to slip out and get it, while a friend at the bank covered
    up for him. Whereas Tom would come back from giving an evening WEA
    lecture, scour the fridge and there'd be nothing there.

    'After they separated Vivienne wrote sad letters to him - there's one
    where she says she'll be in tomorrow evening and will leave the door
    ajar, but some are incoherent. She went round wearing a hat with
    'Murder in the Cathedral' on it. Of course, since she could be totally
    dotty, Tom and Maurice were made executors of the Haigh-Wood estate -
    one a City man, a stockbroker, the other who'd been a banker. It would
    have been quite wrong to put her in charge. She was always running up
    debts - she'd go out and buy a piano or a car, and someone else would
    have to pay. In the 1930s Tom had to give some lectures at Harvard
    because he couldn't meet his income-tax bills. She just drained him of
    money. She couldn't help it, she was ill. But I assure you Tom was
    scrupulous about money, absolutely scrupulous.'

    The film, I point out to her, does acknowledge the eccentric side of
    Vivienne: there is a scene where, denied access to the Faber office
    where her husband works, she pours melted chocolate through the letter
    box in revenge.

    'Hastings completely invented that. The doors at Faber were always
    open, so there was no problem about walking in. But there was a Miss
    Swan, the telephonist, just inside. Swannee was a wonderful
    telephonist: you only had to speak to her once, and she'd recognise
    your voice next time - T E Lawrence couldn't get over it. She was also
    very tactful and kind with Vivienne, and had a certain way of ringing
    Tom's bell which meant: 'Don't come down.' She used to say the smell
    of ether on Vivienne was frightful - it nearly knocked her out.

    'So there is no basis for the chocolate story. What Tom did like was a
    vanilla ice cream with hot chocolate sauce. He was eating it in a
    restaurant once and a man opposite said: 'I can't understand how a
    poet like you can eat that stuff.' Tom, with hardly a pause, said,
    'Ah, but you're not a poet', and went on eating.'

    Was there a time, early on in the marriage, when Vivienne might have
    been not just a pain and embarrassment but a supportive, even
    inspiring companion?

    'She was obviously very witty and sparky, and talked to him a lot and
    was a help in that way. But it was really Tom who tried to get her
    going as a writer, not the other way about. She wanted to be a ballet
    dancer. She wanted to be a musician. She was restless and had a go at
    everything - I think with her illness she couldn't focus properly. Tom
    wrote to Leonard Woolf, asking how he handled Virginia during her
    breakdowns and wanting advice. He also sent one of Vivienne's stories
    to The Dial, and had quite a row with them when they turned it down.
    Tom would say to Vivienne: 'Why not write me something for The
    Criterion?' I think he was trying to steady her with all that.

    'I often think of Ted Hughes, and all he's had to go through. But
    Vivienne was more like Zelda Fitzgerald than Sylvia Plath. Tom did
    tell me that sometimes he'd finish things which she couldn't finish,
    so you can't be sure the things she published are all hers. Her
    importance is that she made him suffer and we got The Waste Land. We
    owe the poem to her, no question: he wouldn't have written it if she
    hadn't given him such hell.'

    This is not quite what the film suggests. There Viv says 'I am his
    mind' ('I think that can be disputed,' giggles Valerie), and it's
    claimed that she not only gave him the title The Waste Land but wrote
    parts of it, too.

    'I think it was Ezra Pound, if anyone, who gave him the title,' says
    Valerie. 'What Vivienne gave him was the title to his magazine, The
    Criterion. Michael Hastings says you can't tell the difference between
    Tom and Vivienne's handwriting on The Waste Land, but I can: you can't
    mistake it. Even lines which are in Vivienne's hand, like 'What you
    get married for if you don't want children?', were things she and Tom
    had heard said by their maid, Ellen, and which they both thought
    hysterically funny. And when Vivienne did publish a bit of The Waste
    Land which Ezra had kicked out, under the initials 'FM' in The
    Criterion, two years after the poem had appeared, she was simply
    playing about with his rejected lines. It was a joke between them.'

    Valerie Eliot refrains from making the point that the manuscript of
    The Waste Land is littered with Vivienne's enthusiastic comments
    ('Splendid', 'WONDERFUL'), comments which she'd be unlikely to have
    made if the words had been her own. But isn't it time for an edition
    of her work, so that people can judge for themselves which partner in
    the marriage was the prime mover?

    'Vivienne asked that when she died her papers go to the Bodleian. The
    Bodleian didn't really want them, and for a long time there was no
    interest in her work, and they sat in a brown paper parcel in the
    basement. Now anyone who wants to can look - it's a hotchpotch, poems,
    stories, some rather pathetic diaries. At the moment we can't do much,
    because I can't break off from the letters to help. But we've someone
    in mind, to do a selection of her work with a biographical account.
    She has to be protected from people who are indulging their egos. It
    has to be scholarly.'

    There is a great deal more about Tom & Viv which Valerie Eliot wishes
    to correct. The film depicts Viv's brother, Maurice, as a duffer; he
    wasn't - she shows me a moving letter he wrote from the trenches, in
    the spirit of Wilfred Owen or Siegfried Sassoon, on 17 June 1917.
    Viv's father wasn't a despised philistine; he was a painter, and she
    was devoted to him. Viv's mother, far from reproaching Tom for his
    treatment of her daughter, wrote saying she'd like to see him, even
    after the separation. Viv didn't resist Tom going into banking; it was
    through her family that he got in. Viv didn't resent his becoming
    religious, or batter at the doors during his baptism and confirmation
    ceremony in 1927. Viv was much less of a poetic mentor than Ezra
    Pound, who doesn't appear in the film. Viv wasn't even Viv - she was
    Vivienne, or Vivien (as she liked friends to spell it), or Vivie, but
    never Viv.

    Above all, for understandable reasons, Valerie doesn't accept the idea
    of Vivienne as the woman Tom loved most passionately and 'forever'. I
    mention the disaster of the honeymoon in Eastbourne in 1915, which the
    film dramatises with blood-covered sheets and a smashed-up hotel room:
    'It's rather awkward to talk about: I don't know if it was to do with
    sex, or what, but there was nothing wrong with Tom, if that's your
    implication. I think when Vivienne came his way he decided 'I may as
    well burn my boats,' then quickly realised he'd made a mistake. They
    were just two people who shouldn't have married: each should have
    married someone else. But Tom tried very hard and for a very long time
    to make a go of it, and he's never given credit for that, is he?'

    NO ONE now is likely to make a film called Tom & Val. And Valerie
    Eliot (nee Fletcher) would not welcome it: she is shy about discussing
    her private life. But the story of her relationship to Tom is as
    unlikely, and as romantic, as anything in Tom & Viv.

    She was born in Headingley, Leeds, in August 1926, and christened
    Valerie, though only just: 'I was going to be called Vivien. But my
    mother's best friend had a daughter 24 hours before I was born, and
    called her Vivien, so my name was changed. Tom had a lucky escape
    there.' Her father was in insurance, but he wasn't the Bradford
    millionaire with a silk hat sort, but rather bookish: 'His father had
    been keen on poets. And Daddy got into trouble in the First World War
    because of all the poetry he had in his knapsack. There is a wonderful
    library in Leeds, and he was chairman of its committee. I used to do
    all my reading there.'

    Their family butcher, meanwhile, was a Mr Bennett, and his son, young
    Alan (born eight years after Valerie), used to do occasional
    deliveries to the Fletchers. Much later, Mrs Bennett met Mrs Fletcher
    out walking with her daughter's new husband: 'He did look a nice man.
    He had a lovely overcoat.' That was T S Eliot, Alan told his mother,
    the most famous poet in England. He'd even won the Nobel Prize for
    literature. 'I'm not surprised,' said Mrs Bennett, 'it was such a
    lovely overcoat.'

    Valerie grew up in Leeds, but her older brother went off to Repton and
    she to Queen Anne's School in Caversham. During the war, while her
    future husband carried out firewatching duties as an air-raid warden
    and had a lucky escape when the offices of Faber were bombed, she,
    too, came under fire: 'One afternoon, walking down the school fields,
    a plane suddenly came out of the sky and began machine-gunning. We
    wore long red cloaks, and you couldn't run in them, it was like
    wearing a blanket. I can still see the face of the pilot now. He was
    firing and the windows were going in ahead of us. Everybody else was
    lying down, but it was raining and I thought, 'Blow it, I'm not going
    to get my cloak wet,' so I ran for it. We were told later that a store
    in Reading had a bomb dropped on it, and that a bus going over
    Caversham Bridge had had its entire top deck machine-gunned.'

    She had read Murder in the Cathedral even before hearing Gielgud's
    recording of 'Journey of the Magi', and later sought out the rest of
    Eliot's work. It was some years before she saw him in person, giving a
    reading at the Wigmore Hall, but even before she met him, 'I felt I
    knew him as a person, and evidently I did. I even knew a lot of things
    about Vivienne, I don't really know how.'

    A family friend, Colin Brooks, editor of The Truth, persuaded Eliot to
    send a signed copy of his poems to his young admirer in Leeds. It was
    to Brooks that Valerie, at 18, disclosed her ambition to work for
    Eliot, and he encouraged her. Her father wasn't keen on her going to
    London, since she'd been away at school, but reluctantly agreed she
    could take a secretarial course. She found the work boring: 'One
    afternoon I felt I'd had it, so I went to an agency and asked if they
    had anyone literary.' They sent her to a man called Paul Capon: 'I
    told him: 'I shall practise on you.' I had to play chess with him
    every lunchtime. He was generous with money when he had it, but often
    he didn't: he used to pawn the typewriter at weekends.'

    When Capon let her go because he couldn't afford to pay her, she
    worked for another writer, Charles Morgan. But one day Colin Brooks,
    who belonged to the same club as Eliot, came rushing round to tell her
    Eliot was looking for a secretary. She walked up and down outside
    Faber's offices for two hours before finding the courage to apply and
    be given an appointment:

    'I was terrified. In my excitement I'd cut my hand the night before
    and had a light bandage on it. There were people on the stairs waiting
    to be interviewed. Tom chatted with me about Herbert and the 17th
    century. At the end he held the door open for me - I can still picture
    him with his chin against it - and said: 'I'm not allowed to say
    anything, but I hope that hand has healed enough for you to type in 10
    days' time.' I thought: 'Well, I'm in the lead at the moment.' Two
    days later I heard I'd got it.'

    She was his secretary for eight years before he proposed. It was a
    friend, Margaret Behrens, who brought them together:

    'She had a house on the Italian frontier, in Mentone. She asked me to
    stay, which I did, twice, and which Tom was frightfully curious about.
    Then she wrote to him and said: 'Look, why don't you come out for the
    winter. Valerie can stay with me, and you can go to the hotel next
    door, it'll be fine.' Tom wrote back and said: 'I can't: I'm in love
    with her.' So Margaret wrote back and said: 'Get on with it.' And she
    wrote straight to me, too, and told me, then wrote back to him again
    and said: 'Good heavens, don't you realise she's in love with you?'

    'His friend Hope Mirrlees came to the office once and said to him: 'Is
    Miss Fletcher engaged by any chance? She looks so radiant.' Tom wasn't
    even egotistical enough to think he was the cause of it. He told my
    mother he hadn't even been sure if I particularly liked him, because,
    of course, I was trying so hard not to give signals. And he was
    worried about the age gap: the day he was due to meet my parents, he
    wrote to a friend saying, 'I have an awful feeling I'm going to turn
    out to be older than her father,' which he was. You can see the worry
    - that it would seem improper.'

    For a time, to avoid the danger of office gossip, they met in secret:
    'We used to go the Russell Hotel separately, after work, and meet
    there behind a pillar. There was a nice old waiter we were very fond
    of who looked just like Rab Butler. When we went back there after we'd
    been married my father said 'I'm glad you've made an honest waiter of
    Rab.' For a time after I had my engagement ring I wore a finger stall.
    And when Tom went to Garrards to buy the wedding rings he said: 'I'll
    pull my hat down so no one will know me.' Afterwards, when he went
    back, he said to the man there: 'You know you were very unwise to let
    a stranger come in and take two rings out.' The man burst out
    laughing: 'We knew exactly who you were, sir.' '

    They married in January 1957, 10 years to the month after Vivienne's
    death: Eliot's penance was over. Many people remarked on his
    rejuvenation. There are photos of them together which show Tom looking
    handsome and smiling. He even allowed himself to publish a love poem
    to her, rather soppy and sensuous, very different from the lines in
    The Waste Land inspired by marriage to Vivienne. He called it 'A
    Dedication to My Wife',

    To whom I owe the leaping delight

    That quickens my senses in our wakingtime

    And the rhythm that governs the repose of

    our sleepingtime,

    The breathing in unison

    Of lovers whose bodies smell of each other

    Who think the same thoughts without need

    of speech

    And babble the same speech without need

    of meaning.

    'He was made for marriage,' says Valerie, 'he was a natural for it, a
    loving creature, and great fun, too. We used to stay at home and drink
    Drambuie and eat cheese and play Scrabble. He loved to win at cards,
    and I always made a point of losing by the time we went to bed. We had
    a magnetic set we travelled with. Every time we finished a game, he
    used to write a message on it for when I opened it next day. When he
    died . . . Well, I've never opened it to this day: I sometimes think,
    shall I?'

    They travelled, they read, they socialised: one visitor was Groucho
    Marx, who described Valerie to Gummo as 'a good-looking, middle- aged
    blonde whose eyes seemed to fill up with adoration every time she
    looked at her husband.' But Tom's health was declining and the
    marriage had only eight years left to run. He was plagued by
    emphysema, and the travelling was mainly to improve his health: 'He
    loved to lie pretty much naked in the sun, and he swam. But we used to
    cross off the days till we could go home again. As he said, you get
    the best climate in the most boring places. When we were in Marrakech
    once, the buildings began rattling. Tom said, 'It's an earthquake, I
    recognise this from St Louis.' The earthquake was as far away as
    Agadir, but there was dust in the air and Tom began coughing.

    'The doctor in England said he could have only one cigar a week. Every
    Tuesday he'd give me an innocent look and say, 'It's my cigar day,
    isn't it?' and I'd have to say, 'No, two more days to go.' He had
    smoked so much, that was the sadness: I think it was because of
    Vivienne.'

    Did they talk about Vivienne? 'If it came up naturally, yes. But he'd
    gone over the past in his own mind often enough, now he wanted to go
    forward, and I didn't see much point in lingering on unhappiness. I
    felt the same when the manuscript of The Waste Land, which had been
    missing for so many years, turned up in the New York Public Library
    after his death: I was angry at first that he hadn't had the chance to
    see it again, but once I began work on it I thought: 'God knows best,
    it would have been too painful for him.' '

    T S ELIOT died in 1965, at 76. Valerie, then 38, his literary
    executor, was left instructions that there should be no biography.
    Some have described her as difficult to deal with, but she says that
    she co-operates with genuine scholars: 'Most of the material is there
    in libraries, for people who want to look. I just write and say,
    fine.' As for her intransigence towards biographers, she sees this as
    'sticking to what Tom said and carrying out his wishes. Peter Ackroyd
    knew when he set out that Tom had said: No biography. So to start
    bleating at the end about not being able to quote from the poetry,
    when everyone else has had to obey the same rules, is pretty feeble.'

    But she granted permission to the makers of Tom & Viv to quote from
    the poetry: isn't this inconsistent? 'Left to myself I wouldn't have
    given permission - to an honest attempt, maybe, but not to a
    sensational thing like this. But I was advised by Faber to do so, and
    the film- makers paid a fee into my charitable trust - it's tainted
    money, but there's a young man who's an up-and-coming musician who I
    sent the money to, and it will help him.'

    She also accepts that there should eventually be an authorised
    biography: 'The world has changed since Tom's death, and so much
    mischief has been made, I shall probably commission somebody one day.
    Plenty of people volunteer, of course. But I'll only do it when I've
    found the right person - and after I've done the letters, because
    there is a lot of information which only I know that's going into
    footnotes and can later be used.'

    Originally her husband was against publishing the letters, too. But he
    and Valerie were in the habit of reading aloud to each other in the
    evening, and she began to drop hints by reciting writers' letters
    during these sessions, and 'one night he just burst out laughing and
    said: 'All right, you win. But if there's going to be an edition,
    you'll have to do it.' '

    She has been doing it for nearly 30 years, and the projected four
    volumes now look like being six. There have been some grumbles (and
    some flutterings within Faber) at the slowness of the enterprise: the
    first volume appeared six years ago, there is no sign of the second
    yet, and Mrs Eliot, in her late sixties, is no longer young. One
    interpretation is that she's reluctant to complete the task because to
    do so in effect means letting go of Tom. But she herself speaks
    persuasively of the vastness of the task (she has a secretary three
    days a week, but for the rest, 'by the time you tell somebody what to
    do you could do it yourself') and of the numerous problems that delay
    its completion:

    'When Vivienne typed things for Tom, there were pages missing, the
    type would go off the page. There's one where he's writing about
    Shelley which just gives out - I'd love to know what he goes on to
    say. And then there are letters which I know exist but can't trace.

    'Tom was also very casual about keeping letters. There were some to
    Middleton Murry, including ones from 1925 where Tom had been asking
    Murry for advice about Vivienne, because Murry did try to reconcile
    them. Murry's widow returned them after his death, and Tom burnt them
    in front of me. That's his privilege. They were his letters. But he
    did tell me he had another bonfire, earlier, destroying lots of
    letters, and that if he'd known he was going to marry me he wouldn't
    have.'

    AFTER the interview, we go to an Italian restaurant just round the
    corner from Faber, where Mrs Eliot is greeted effusively and cracks a
    lot of jokes. For a supposed recluse, she has a remarkably public
    life, and is often to be found at Faber parties, sometimes wearing a
    bracelet on which hang silver miniatures of her husband's books with
    their titles engraved. There is something almost nun-like in her
    life's devotion to a single cause. And something old- fashioned in a
    woman choosing to sacrifice herself to a man in this way. But Valerie
    Eliot doesn't look old-fashioned, or like a nun. Florid and full of
    appetite, she is the firm's most colourful link with its illustrious
    past.

    Now that past is a biopic, where - in order that (as its makers put
    it) Tom & Viv 'seem a universal experience and not a film about two
    long-dead literary figures' - truth goes by the board. Michael
    Hastings's licence with the facts distresses Valerie Eliot. She can't
    understand what motivates him: is it some grudge against Faber? Was he
    merely inspired by a throwaway remark by Edith Sitwell, that 'at some
    point in their marriage Tom went mad and promptly certified his wife'?
    Hastings claims that Eliot 'Stalinised' Vivienne. What about
    Hastings's own Who's Who entry, which declines to name his first wife
    and states baldly: 'one d by previous m'? Could it be that Hastings
    was drawn to the story of Tom and Vivienne by something in his own
    past?

    Valerie Eliot's upset isn't just with Michael Hastings, though, but
    with the general raking over of the TSE past. Many a widow, many a
    second wife, would prefer not to know too much about her husband's
    early life and loves - the bits Before He Met Her. But as Eliot's
    literary executor, the keeper of his flame, the guardian of his name,
    it is Valerie's business to know. She has had to face up to his
    relationship not just with Vivienne but with two other women: Mary
    Trevelyan ('She was hot on his trail') and Emily Hale ('A woman, now
    dead, who was a close friend of Emily sought me out specially to say
    that this theory of Tom's great love for her was all rubbish').
    Vivienne, Mary and Emily: she speaks rather tartly of them. But she
    feels honour-bound, as the editor of his letters, not to suppress the
    truth.

    In the meantime, her greatest distress is the thought of a public who
    don't know T S Eliot's poetry, or who will be turned off it by the
    film.

    'A lot of people come by, taking photographs of my flat, because they
    know it's where Tom once lived. I keep wondering, now the film's out:
    Am I going to get a brick through the window? The film can't hurt Tom
    any more, but it's the inaccuracy and dishonesty that make my blood
    boil. I worry that people will never look at his words but know him
    only as the author of Cats and then see the film and think: What a
    monster, a monster of depravity, like Macavity the cat.'

    But she is heartened by the letters that come, from those who find The
    Waste Land or the Four Quartets still speak to them. And she has not
    given up hope yet that plays of his, such as The Cocktail Party and
    The Family Reunion, will be revived on the London stage. One day, too,
    she knows the letters will be there, complete, on the shelves: her
    life's work, in effect her autobiography. And then posterity can judge
    her - not as a muse, but as the woman who made Tom Eliot happy.

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