Search results for ""Author Simon Fenwick""

In 1945, Eddy Sackville-West, Desmond Shawe-Taylor and Eardley Knollys - writers for the New Statesman and a National Trust administrator - purchased Long Crichel House, an old rectory with no electricity and an inadequate water supply. In this improbable place, the last English literary salon began. Quieter and less formal than the famed London literary salons, Long Crichel became an idiosyncratic experiment in communal living. Sackville-West, Shawe-Taylor and Knollys - later joined by the literary critic Raymond Mortimer - became members of one another's surrogate families and their companionship became a stimulus for writing, for them and their guests. Long Crichel's visitors' book reveals a Who's Who of the arts in post-war Britain - Nancy Mitford, Benjamin Britten, Laurie Lee, Cyril Connolly, Somerset Maugham, E.M. Forster, Cecil Beaton, Vita Sackville-West and Harold Nicolson - who were attracted by the good food, generous quantities of drink and excellent conversation. For Frances Partridge and James Lees-Milne, two of the twentieth century's finest diarists, Long Crichel became a second home and their lives became bound up with the house.Yet there was to be more to the story of the house than what critics variously referred to as a group of 'hyphenated gentlemen-aesthetes' and a 'prose factory'. In later years the house and its inhabitants were to weather the aftershocks of the Crichel Down Affair, the Wolfenden Report and the AIDS crisis. The story of Long Crichel is also part of the development of the National Trust and other conservation movements. Through the lens of Long Crichel, archivist and writer Simon Fenwick tells a wider story of the great upheaval that took place in the second half of the twentieth century. Intimate and revealing, he brings to life Long Crichel's golden, gossipy years and, in doing so, unveils a missing link in English literary and cultural history.

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In 1945, Eddy Sackville-West, Desmond Shawe-Taylor and Eardley Knollys - writers for the New Statesman and a National Trust administrator - purchased Long Crichel House, an old rectory with no electricity and an inadequate water supply. In this improbable place, the last English literary salon began. Quieter and less formal than the famed London literary salons, Long Crichel became an idiosyncratic experiment in communal living. Sackville-West, Shawe-Taylor and Knollys - later joined by the literary critic Raymond Mortimer - became members of one another's surrogate families and their companionship became a stimulus for writing, for them and their guests. Long Crichel's visitors' book reveals a Who's Who of the arts in post-war Britain - Nancy Mitford, Benjamin Britten, Laurie Lee, Cyril Connolly, Somerset Maugham, E.M. Forster, Cecil Beaton, Vita Sackville-West and Harold Nicolson - who were attracted by the good food, generous quantities of drink and excellent conversation. For Frances Partridge and James Lees-Milne, two of the twentieth century's finest diarists, Long Crichel became a second home and their lives became bound up with the house.Yet there was to be more to the story of the house than what critics variously referred to as a group of 'hyphenated gentlemen-aesthetes' and a 'prose factory'. In later years the house and its inhabitants were to weather the aftershocks of the Crichel Down Affair, the Wolfenden Report and the AIDS crisis. The story of Long Crichel is also part of the development of the National Trust and other conservation movements. Through the lens of Long Crichel, archivist and writer Simon Fenwick tells a wider story of the great upheaval that took place in the second half of the twentieth century. Intimate and revealing, he brings to life Long Crichel's golden, gossipy years and, in doing so, unveils a missing link in English literary and cultural history.

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Erlund Hudson's etchings, sketches and watercolours are nearly always concerned with women at work or at rest, in wartime, domestic or ballet scenes. After a mere 20 years as a professional artist Hudson abandoned painting and became involved in the world of ballet, working as artistic director at the Brooking School of Ballet with Nesta Brooking, her companion of almost 50 years. Although Hudson's output as an artist was relatively small, its significance is shown in that her work can now be found in important collections in Great Britain and North America, including the Imperial War Museum. In this first biography of Eleanor Erlund Hudson (1912-2011) Simon Fenwick creates a moving and informative portrait of the woman and the artist during her long life. The fully illustrated monograph also includes a list of her pictures shown by exhibiting societies during her lifetime.

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Volumes have been written by and about Patrick Leigh Fermor, but his wife Joan is almost entirely absent from their pages. Now Simon Fenwick, the first archivist to see the Leigh Fermor papers, reveals a woman hitherto only fleetingly glimpsed. A talented photographer, Joan defied the social conventions of her times and, though she came from a wealthy and well-connected family, earned her own living. Through her lover, and later editor of the TLS, Alan Pryce-Jones, she met and mingled with the leading lights of 1930s bohemia – John Betjeman, Cyril Connolly, Evelyn Waugh, Maurice Bowra (who adored her) and Osbert Lancaster, among others. She featured regularly in the gossip columns, not only for her affairs and her fashionable clothes, but for her intrepid travels to Russia and America.In 1936 she met and subsequently married the journalist John Rayner, but her belief in open marriage was not shared by her husband and their relationship foundered. Then, in 1944 in Cairo, where she was a cypher clerk, she met Paddy Leigh Fermor, lionized for his daring kidnap of the Nazi General Kreipe in Crete. They would remain together until her death in 2003.In this riveting biography, written with full access to Joan’s personal archive, Simon Fenwick reveals the extraordinary life of a woman who, until now, has been defined by the man she married and their famous friends. Here, at last, Joan is placed at the centre of her own story. It is also a riveting portrait of a marriage and a milieu, revealing the sexual and intellectual mores of that wartime generation who lived life at full tilt, no matter what the consequences.

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