Slow Food

Plenty of aesthetic history—in so far as we can talk of the history of aesthetic response—is presented to us in the words we use for selecting, eating, and liking food, and mixing it, and making it more likable. If we start with cookery words, our prime vocable may be or …

In the Crab Pots

Several irrelevancies and relevancies, with related sub-irrelevancies and sub-relevancies, may be used to help a new piece of fiction with purchasers—libraries and the like—and with reviewers, and (we get to them in the end) with readers. Among them are subject and place. Another is that the novel should be “discovered,” …

Never-Never-Land

Writing this review in France engenders some thought about English and French attitudes toward antiquity. If Avebury or Stonehenge had been French—had they stood in France (outside Brittany)—I suspect that a past tense would be entirely appropriate to them. They would have been pulled down (though Stonehenge might have been …

Cosa Nostra

Pre-Raphaelitism, as a principle, was precociously brooded in 1847, by Holman Hunt, aged twenty, and John Millais, aged eighteen, with some not entirely convinced help from Dante Gabriel Rossetti, aged nineteen. Then a year later the Pre-Raphaelite group or movement was hatched. Hunt says that he and Millais, his pupil, …

Mining Morris

The Tamar dividing Devonshire from Cornwall is one of the more delectable of the small rivers of England. There were, above its woods and declivities, mines which yielded lead, silver, copper, and arsenic. The arsenic ovens—for a while the most extensive in the world—did foul damage along the river, about …

Nothing Like a Dame

How are we to explain or explain away (since it is going to need some explaining away for our posterity) the eminence or the acceptance or the at times reverential praise of the poems of the late Edith Sitwell? The poems will fall apart. They strike me, when I look …