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Poems of Paul Verlaine by Paul Verlaine

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I still hear, still I see! O worshipped rule
Of God! I know at last how comfortful
To hear and see! I see, I hear alway!

O innocence, O hope! Lowly and mild,
How I shall love you, sweet hands of my child,
Whose task shall be to close our eyes one day!



"SON, THOU MUST LOVE ME! SEE--" MY SAVIOUR SAID

"Son, thou must love me! See--" my Saviour said,
"My heart that glows and bleeds, my wounded side,
My hurt feet that the Magdalene, wet-eyed,
Clasps kneeling, and my tortured arms outspread

"To bear thy sins. Look on the cross, stained red!
The nails, the sponge, that, all, thy soul shall guide
To love on earth where flesh thrones in its pride,
My Body and Blood alone, thy Wine and Bread.

"Have I not loved thee even unto death,
O brother mine, son in the Holy Ghost?
Have I not suffered, as was writ I must,

"And with thine agony sobbed out my breath?
Hath not thy nightly sweat bedewed my brow,
O lamentable friend that seek'st me now?"


[Illustration: "Mon Dieu M'a Dit."]



HOPE SHINES--AS IN A STABLE A WISP OF STRAW

Hope shines--as in a stable a wisp of straw.
Fear not the wasp drunk with his crazy flight!
Through some chink always, see, the moted light!
Propped on your hand, you dozed--But let me draw

Cool water from the well for you, at least,
Poor soul! There, drink! Then sleep. See, I remain,
And I will sing a slumberous refrain,
And you shall murmur like a child appeased.

Noon strikes. Approach not, Madam, pray, or call....
He sleeps. Strange how a woman's light footfall
Re-echoes through the brains of grief-worn men!

Noon strikes. I bade them sprinkle in the room.
Sleep on! Hope shines--a pebble in the gloom.
--When shall the Autumn rose re-blossom,--when?


SLEEP, DARKSOME, DEEP

Sleep, darksome, deep,
Doth on me fall:
Vain hopes all, sleep,
Sleep, yearnings all!

Lo, I grow blind!
Lo, right and wrong
Fade to my mind....
O sorry song!

A cradle, I,
Rocked in a grave:
Speak low, pass by,
Silence I crave!


[Illustration: Le Ciel et Les Toits.]


THE SKY-BLUE SMILES ABOVE THE ROOF

The sky-blue smiles above the roof
Its tenderest;
A green tree rears above the roof
Its waving crest.

The church-bell in the windless sky
Peaceably rings,
A skylark soaring in the sky
Endlessly sings.

My God, my God, all life is there,
Simple and sweet;
The soothing bee-hive murmur there
Comes from the street!

What have you done, O you that weep
In the glad sun,--
Say, with your youth, you man that weep,
What have you done?



IT IS YOU

It is you, it is you, poor better thoughts!
The needful hope, shame for the ancient blots,
Heart's gentleness with mind's severity,
And vigilance, and calm, and constancy,
And all!--But slow as yet, though well awake;
Though sturdy, shy; scarce able yet to break
The spell of stifling night and heavy dreams.
One comes after the other, and each seems
Uncouther, and all fear the moonlight cold.
"Thus, sheep when first they issue from the fold,
Come,--one, then two, then three. The rest delay,
With lowered heads, in stupid, wondering way,
Waiting to do as does the one that leads.
He stops, they stop in turn, and lay their heads
Across his back, simply, not knowing why."*
Your shepherd, O my fair flock, is not I,--
It is a better, better far, who knows
The reasons, He that so long kept you close,
But timely with His own hand set you free.
Him follow,--light His staff. And I shall be,
Beneath his voice still raised to comfort you,
I shall be, I, His faithful dog, and true.

* Dante, Purgatorio.



'TIS THE FEAST OF CORN

'Tis the feast of corn, 'tis the feast of bread,
On the dear scene returned to, witnessed again!
So white is the light o'er the reapers shed
Their shadows fall pink on the level grain.

The stalked gold drops to the whistling flight
Of the scythes, whose lightning dives deep, leaps clear;
The plain, labor-strewn to the confines of sight,
Changes face at each instant, gay and severe.

All pants, all is effort and toil 'neath the sun,
The stolid old sun, tranquil ripener of wheat,
Who works o'er our haste imperturbably on
To swell the green grape yon, turning it sweet.

Work on, faithful sun, for the bread and the wine,
Feed man with the milk of the earth, and bestow
The frank glass wherein unconcern laughs divine,--
Ye harvesters, vintagers, work on, aglow!

For from the flour's fairest, and from the vine's best,
Fruit of man's strength spread to earth's uttermost,
God gathers and reaps, to His purposes blest,
The Flesh and the Blood for the chalice and host!


Jadis et Naguere


Jadis


PROLOGUE

Off, be off, now, graceless pack:
Get you gone, lost children mine:
Your release is earned in fine:
The Chimaera lends her back.

Huddling on her, go, God-sped,
As a dream-horde crowds and cowers
Mid the shadowy curtain-flowers
Round a sick man's haunted bed.

Hold! My hand, unfit before,
Feeble still, but feverless,
And which palpitates no more
Save with a desire to bless,

Blesses you, O little flies
Of my black suns and white nights.
Spread your rustling wings, arise,
Little griefs, little delights,

Hopes, despairs, dreams foul and fair,
All!--renounced since yesterday
By my heart that quests elsewhere....
Ite, aegri somnia!


LANGUEUR

I am the Empire in the last of its decline,
That sees the tall, fair-haired Barbarians pass,--the while
Composing indolent acrostics, in a style
Of gold, with languid sunshine dancing in each line.

The solitary soul is heart-sick with a vile
Ennui. Down yon, they say, War's torches bloody shine.
Alas, to be so faint of will, one must resign
The chance of brave adventure in the splendid file,--

Of death, perchance! Alas, so lagging in desire!
Ah, all is drunk! Bathyllus, hast done laughing, pray?
Ah, all is drunk,--all eaten! Nothing more to say!

Alone, a vapid verse one tosses in the fire;
Alone, a somewhat thievish slave neglecting one;
Alone, a vague disgust of all beneath the sun!



Naguere

[Illustration: "Crepuscule du Soir Mystique."]


PROLOGUE

Glimm'ring twilight things are these,
Visions of the end of night.
Truth, thou lightest them, I wis,
Only with a distant light,

Whitening through the hated shade
In such grudging dim degrees,
One must doubt if they be made
By the moon among the trees,

Or if these uncertain ghosts
Shall take body bye and bye,
And uniting with the hosts
Tented by the azure sky,

Framed by Nature's setting meet,--
Offer up in one accord
From the heart's ecstatic heat,
Incense to the living Lord!


Parallelement


IMPRESSION FAUSSE

Dame mouse patters
Black against the shadow grey;
Dame mouse patters
Grey against the black.

Hear the bed-time bell!
Sleep forthwith, good prisoners;
Hear the bed-time bell!
You must go to sleep.

No disturbing dream!
Think of nothing but your loves:
No disturbing dream,
Of the fair ones think!

Moonlight clear and bright!
Some one of the neighbors snores;
Moonlight clear and bright--
He is troublesome.

Comes a pitchy cloud
Creeping o'er the faded moon;
Comes a pitchy cloud--
See the grey dawn creep!

Dame mouse patters
Pink across an azure ray;
Dame mouse patters. . . .
Sluggards, up! 'tis day!


Poemes Saturniens


PROLOGUE

The Sages of old time, well worth our own,
Believed--and it has been disproved by none--
That destinies in Heaven written are,
And every soul depends upon a star.
(Many have mocked, without remembering
That laughter oft is a misguiding thing,
This explanation of night's mystery.)
Now all that born beneath Saturnus be,--
Red planet, to the necromancer dear,--
Inherit, ancient magic-books make clear,
Good share of spleen, good share of wretchedness.
Imagination, wakeful, vigorless,
In them makes the resolves of reason vain.
The blood within them, subtle as a bane,
Burning as lava, scarce, flows ever fraught
With sad ideals that ever come to naught.
Such must Saturnians suffer, such must die,--
If so that death destruction doth imply,--
Their lives being ordered in this dismal sense
By logic of a malign Influence.


Melancholia


NEVERMORE

Remembrance, what wilt thou with me? The year
Declined; in the still air the thrush piped clear,
The languid sunshine did incurious peer
Among the thinned leaves of the forest sere.

We were alone, and pensively we strolled,
With straying locks and fancies, when, behold
Her turn to let her thrilling gaze enfold,
And ask me in her voice of living gold,

Her fresh young voice, "What was thy happiest day?"
I smiled discreetly for all answer, and
Devotedly I kissed her fair white hand.

--Ah, me! The earliest flowers, how sweet are they!
And in how exquisite a whisper slips
The earliest "Yes" from well-beloved lips!



APRES TROIS ANS

When I had pushed the narrow garden-door,
Once more I stood within the green retreat;
Softly the morning sunshine lighted it,
And every flow'r a humid spangle wore.

Nothing is changed. I see it all once more:
The vine-clad arbor with its rustic seat. . . .
The waterjet still plashes silver sweet,
The ancient aspen rustles as of yore.

The roses throb as in a bygone day,
As they were wont, the tall proud lilies sway.
Each bird that lights and twitters is a friend.

I even found the Flora standing yet,
Whose plaster crumbles at the alley's end,
--Slim, 'mid the foolish scent of mignonette.



MON REVE FAMILIER

Oft do I dream this strange and penetrating dream:
An unknown woman, whom I love, who loves me well,
Who does not every time quite change, nor yet quite dwell
The same,--and loves me well, and knows me as I am.

For she knows me! My heart, clear as a crystal beam
To her alone, ceases to be inscrutable
To her alone, and she alone knows to dispel
My grief, cooling my brow with her tears' gentle stream.

Is she of favor dark or fair?--I do not know.
Her name? All I remember is that it doth flow
Softly, as do the names of them we loved and lost.

Her eyes are like the statues',--mild and grave and wide;
And for her voice she has as if it were the ghost
Of other voices,--well-loved voices that have died.



A UNE FEMME

To you these lines for the consoling grace
Of your great eyes wherein a soft dream shines,
For your pure soul, all-kind!--to you these lines
From the black deeps of mine unmatched distress.

'Tis that the hideous dream that doth oppress
My soul, alas! its sad prey ne'er resigns,
But like a pack of wolves down mad inclines
Goes gathering heat upon my reddened trace!

I suffer, oh, I suffer cruelly!
So that the first man's cry at Eden lost
Was but an eclogue surely to my cry!

And that the sorrows, Dear, that may have crossed
Your life, are but as swallows light that fly
--Dear!--in a golden warm September sky.


Paysages Tristes


CHANSON D'AUTOMNE

Leaf-strewing gales
Utter low wails
Like violins,--
Till on my soul
Their creeping dole
Stealthily wins....

Days long gone by!
In such hour, I,
Choking and pale,
Call you to mind,--
Then like the wind
Weep I and wail.

And, as by wind
Harsh and unkind,
Driven by grief,
Go I, here, there,
Recking not where,
Like the dead leaf.



LE ROSSIGNOL

Like to a swarm of birds, with jarring cries
Descend on me my swarming memories;
Light mid the yellow leaves, that shake and sigh,
Of the bowed alder--that is even I!--
Brooding its shadow in the violet
Unprofitable river of Regret.
They settle screaming--Then the evil sound,
By the moist wind's impatient hushing drowned,
Dies by degrees, till nothing more is heard
Save the lone singing of a single bird,
Save the clear voice--O singer, sweetly done!--
Warbling the praises of the Absent One....
And in the silence of a summer night
Sultry and splendid, by a late moon's light
That sad and sallow peers above the hill,
The humid hushing wind that ranges still
Rocks to a whispered sleepsong languidly
The bird lamenting and the shivering tree.



Caprices


IL BACIO

Kiss! Hollyhock in Love's luxuriant close!
Brisk music played on pearly little keys,
In tempo with the witching melodies
Love in the ardent heart repeating goes.

Sonorous, graceful Kiss, hail! Kiss divine!
Unequalled boon, unutterable bliss!
Man, bent o'er thine enthralling chalice, Kiss,
Grows drunken with a rapture only thine!

Thou comfortest as music does, and wine,
And grief dies smothered in thy purple fold.
Let one greater than I, Kiss, and more bold,
Rear thee a classic, monumental line.

Humble Parisian bard, this infantile
Bouquet of rhymes I tender half in fear....
Be gracious, and in guerdon, on the dear
Red lips of One I know, alight and smile!


EPILOGUE

I
The sun, less hot, looks from a sky more clear;
The roses in their sleepy loveliness
Nod to the cradling wind. The atmosphere
Enfolds us with a sister's tenderness.

For once hath Nature left the splendid throne
Of her indifference, and through the mild
Sun-gilded air of Autumn, clement grown,
Descends to man, her proud, revolted child.

She takes, to wipe the tears upon our face,
Her azure mantle sown with many a star;
And her eternal soul, her deathless grace,
Strengthen and calm the weak heart that we are.

The waving of the boughs, the lengthened line
Of the horizon, full of dreamy hues
And scattered songs, all,--sing it, sail, or shine!--
To-day consoles, delivers!--Let us muse.


II
So, then this book is closed. Dear Fancies mine,
That streaked my grey sky with your wings of light,
And passing fanned my burning brow, benign,--
Return, return to your blue Infinite!

Thou, ringing Rhyme, thou, Verse that smooth didst glide,
Ye, throbbing Rhythms, ye, musical Refrains,
And Memories, and Dreams, and ye beside
Fair Figures called to life with anxious pains,

We needs must part. Until the happier day
When Art, our Lord, his thralls shall re-unite,
Companions sweet, Farewell and Wellaway,
Fly home, ye may, to your blue Infinite!

And true it is, we spared not breath or force,
And our good pleasure, like foaming steed
Blind with the madness of his earliest course,
Of rest within the quiet shade hath need.

--For always have we held thee, Poesy,
To be our Goddess, mighty and august,
Our only passion,--Mother calling thee,
And holding Inspiration in mistrust.



III
Ah, Inspiration, splendid, dominant,
Egeria with the lightsome eyes profound,
Sudden Erato, Genius quick to grant,
Old picture Angel of the gilt background,

Muse,--ay, whose voice is powerful indeed,
Since in the first come brain it makes to grow
Thick as some dusty yellow roadside weed,
A gardenful of poems none did sow,--

Dove, Holy Ghost, Delirium, Sacred Fire,
Transporting Passion,--seasonable queen!--
Gabriel and lute, Latona's son and lyre,--
Ah, Inspiration, summoned at sixteen!

What we have need of, we, the Poets True,
That not believe in Gods, and yet revere,
That have no halo, hold no golden clue,
For whom no Beatrix leaves her radiant sphere,

We, that do chisel words like chalices,
And moving verses shape with unmoved mind,
Whom wandering in groups by evening seas,
In musical converse ye scarce shall find,--

What we need is, in midnight hours dim-lit,
Sleep daunted, knowledge earned,--more knowledge still!
Is Faust's brow, of the wood-cuts, sternly knit,
Is stubborn Perseverance, and is Will!

Is Will eternal, holy, absolute,
That grasps--as doth a noble bird of prey
The steaming flanks of the foredoomed brute,--
Its project, and with it,--skyward, away!

What we need, we, is fixedness intense,
Unequalled effort, strife that shall not cease,
Is night, the bitter night of labor, whence
Arises, sun-like, slow, the Master-piece!

Let our Inspired, hearts by an eye-shot tined,
Sway with the birch-tree to all winds that blow,
Poor things! Art knows not the divided mind--
Speak, Milo's Venus, is she stone or no?

We therefore, carve we with the chisel Thought
The pure block of the Beautiful, and gain
From out the marble cold where it was not,
Some starry-chitoned statue without stain,

That one far day, Posterity, new Morn,
Enkindling with a golden-rosy flame
Our Work, new Memnon, shall to ears unborn
Make quiver in the singing air our name!





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Elliott Kastner obituary

John Makinson says that if people want to read using new technology, that's what publishers must give them

Penguin this week celebrates its 75th year and is marking the anniversary by repackaging a series of seminal books from the 1960s to the 1980s. Although the company might afford itself a brief look backwards, it feels as though there is little room for nostalgia in book publishing now, as the industry turns its face firmly – and apprehensively – to the future.

Amazon last week announced sales of ebooks on its US site had outnumbered hardbacks for the first time, stunning casual observers, even if it had not been entirely unexpected in the trade.

The launch of the iPad has added a sense of urgency. Where music went first, books are set to follow, although Penguin and other publishers would hope without the same devastating effects. Amazon this week launched a cheaper, more lightweight version of its Kindle ebook reader and a digital store on its UK site, while others, including Google, are muscling in. Digital book sales are still less than 1% of Penguin, but the direction of the market is clear. In the US, digital books already account for 6% of consumer sales.

Penguin chief executive John Makinson says he is a convert. The day after we meet he is on his way to India, as part of David Cameron's delegation, and had loaded titles on to his iPad, including a manuscript by John le Carré and some Portuguese classics (in English) ahead of Penguin launching a range in Brazil. He is also reading Lord Mandelson's diary. It simply makes sense, he says, instead of carting an armful of books in your carry-on luggage.

Innovation

"It does redefine what we do as publishers and I feel, compared with most of my counterparts, more optimistic about what this means for us," he says. "Of course there are issues around copyright protection and there are worries around pricing and around piracy, royalty rates and so on, but there is also this huge opportunity to do more as publishers."

Publishing, he says, must embrace innovation: "I am keen on the idea that every book that we put on to an iPad has an author interview, a video interview, at the beginning. I have no idea whether this is a good idea or not. There has to be a culture of experimentation, which doesn't come naturally to book publishers. We publish a lot of historians, for example. They love the idea of using documentary footage to illustrate whatever it is they're writing about."

The very definition of a book is up for grabs he says, although the company has just published a version of Ken Follett's The Pillars of the Earth for the iPad in the US that might provide clues – and horrify traditionalists. It includes scenes from a TV adaptation embedded in the text, as well as extras including the show's music soundtrack and Follett's video diary during the making of the series.

For now, Makinson says, digital books are expanding the market; hardback sales in the US are up this year, despite the march of ebooks. Piracy is not yet a significant issue and lessons have been learned from the music business.

"You have to give the consumer what the consumer wants – you can't tell the consumer to go away. So we didn't participate in this experiment where a number of publishers deferred publication of the ebook until a certain number of months after the hardcover publication. I thought that was a very bad idea. If the consumer wants to buy a book in an electronic format now, you should let the consumer have it."

He has added confidence, because with tablets such as the iPad, consumers are used to paying a subscription to the wireless operator and for "apps", creating a more benign environment than the wild west of the PC, where users are used to getting everything for free.

Penguin's profits more than doubled to £44m in the first half of the year. The company gained market share, but one reason for the dramatic improvement was the outsourcing of some design and production to India last year; the company now has around 100 designers in Delhi making books for Dorling Kindersley, belying the idea that Britain can at least live off its creative industries. Makinson defends the decision and says DK is now back in profit, which means it can reinvest in Britain: "We can't pretend we can do everything here. In order to be internationally competitive, some work needs to be done in other places."

About 8% of the publisher's sales are from its classics, including Jane Austen and Charles Dickens, and revenues are still growing, despite much of the copyright being in the public domain. It is launching the range in Mandarin, Korean and Portuguese. But it is not all highbrow. What would Penguin's founder, Sir Allen Lane, whose aim was to publish quality paperbacks for the masses, have made of Penguin putting out books "by" Peter Andre or Ant & Dec?

"Allen Lane's view was that we should publish good writing of all kinds for all audiences at affordable prices," Makinson says. "I'm not saying he would necessarily have approved every single publishing decision we take, but would he have approved of Penguin being a very democratic publishing company, publishing for lots of different tastes? I think he would definitely have approved."

Makinson has long been mentioned as a successor to Dame Marjorie Scardino, who runs Pearson, Penguin's parent company. Her departure has been a perennial question, though she has defied the investment community's chattering classes by staying in her post for well over a decade. She has also confounded expectations by keeping Penguin and the Financial Times in a group dominated by educational publishing. Makinson says it now makes more sense than ever for Penguin to remain part of the group, as the digital era draws each division closer.

He says there will still be the need for publishers in the digital world: "I used to have this discussion with [Hitchhiker's Guide to the Galaxy author] Douglas Adams. He created this thing called the digital village, an online publishing platform. Douglas's argument was, 'all of my friends will come along and publish on digital village and you the publishers will be disintermediated, you will be irrelevant'. Well, it hasn't happened. I am not aware of any successful direct to consumer publishing model that exists.

"The reason it doesn't work is that the publishers do actually perform quite a useful service: they edit the book, then they publicise it." In the physical world, they make sure it is stocked in bookshops, he adds.

Clubbable

Makinson, 55, perhaps feels more adaptable than some of his counterparts because he arrived at Penguin as an outsider. A clubbable character, he has taken an unusual career path, from a journalist on the Financial Times, to working for the Saatchis, setting up his own investment consultancy, running the Financial Times and then becoming Pearson finance director, despite having no training as an accountant.

But his passion for books is evident. Five years ago, he and his brother bought a bookshop in the small Norfolk town of Holt. For an out-of-the-way independent, the Holt Bookshop attracts a starry line-up of authors for events, including Stephen Fry, due to talk about his new autobiography, which, perhaps not surprisingly, is published by Penguin.

"We are all terribly sentimental about books," Makinson insists. "It is terribly important to me that we sell lots of wonderful books in my little independent in Norfolk, and when I talk about digital I do sometimes worry that it looks as though I am neglecting all this," he points to the books on the shelves behind him, "which I am not."

CV

Born: 1954, Derby.

Education: Graduated from Cambridge with honours in English and History.

Career: 1976-1979, journalist, Reuters; 1979-1986, journalist, Financial Times; 1986-1989, vice-chairman, Saatchi & Saatchi; 1989-1994, co-founder of capital markets advisory firm Makinson Cowell; 1994-1996, managing director, Financial Times; 1996-2002, finance director, Pearson; 2002-present, chairman and chief executive Penguin Books.

Other interests: chairman of the Institute for Public Policy Research, a director of the National Theatre and of the International Rescue Committee, a humanitarian organisation.

Family: Married with two daughters.


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The nostalgia narrative now aches to a different tune | John Freeman

Late-flowering writer of biographies and children's books

Verily Anderson, who has died aged 95, published more than 30 books – memoirs, biographies, children's stories and work ranging from personal reminiscences to Shakespeare scholarship and 10 Brownie books. She was a late starter: her breakthrough as a writer came in 1956, at the age of 41, when she published Spam Tomorrow, a deft and frequently uproarious account of her wartime experiences on the home front. Critics hailed it as a new kind of memoir, one of the first to explore the lives of women in wartime.

Before the success of Spam Tomorrow, she led a life that was colourful but frequently impecunious. Born in Edgbaston, Birmingham, the fourth of five children of the Rev Rosslyn Bruce and his wife Rachel (nee Gurney), Verily was always certain that she wanted to be a writer. As children, she and her brothers edited and wrote a nursery magazine which they called the News of the World. Verily's haphazard schooling ranged from a few years at Edgbaston high school for girls to being taught at home by her mother, to a brief and unsuccessful stint at the Royal College of Music in London. She said she worked at "100 different jobs" (including writing advertising copy, illustrating sweet papers and working as a chauffeur) before the outbreak of the second world war, when she enlisted with the First Aid Nursing Yeomanry, on the grounds that if there were going to be a war, it would be "less frightening to be in the middle of things".

During the war she met Donald Anderson, a writer who specialised in military history. They married in 1940 and had five children. With his encouragement, she made a precarious living as a freelance writer, while papering her lavatory walls with rejection slips received from publishers for her book projects. Her persistence was at last rewarded with the success of Spam Tomorrow – and a further half-decade on the bestseller lists. These years included a film adaptation of her 1958 memoir, Beware of Children, called No Kidding and starring Leslie Phillips and Geraldine McEwan (1960).

Donald died in 1956, and by the mid-60s Verily was again struggling financially. She was rescued by the actor Joyce Grenfell. They had struck up a friendship when Verily interviewed Grenfell for the BBC. Grenfell was so shocked at the conditions she found Verily living in that she bought her a home in Northrepps, a village in Norfolk, where she stayed for the rest of her life, writing dozens more books (including the critically acclaimed The Northrepps Grandchildren in 1968) and glorying in the role of matriarch to an ever-expanding family of children, grandchildren and great-grandchildren. When Verily married Paul Paget, architect and surveyor to the fabric of St Paul's Cathedral, in 1971, Grenfell was matron of honour.

In 2008 I conducted what turned out to be Verily's last interview. Letting myself in after some fruitless bell-ringing, I followed the sounds of a piano to her study door. "Oh my dear," she said, looking up at my knock. "There you are. Now – shall we have a gin, before we start?"

I had already heard all about Verily through her daughter, my friend the writer Janie Hampton, and so had a good idea what to expect. Janie's main piece of advice on hearing that we were going to meet was: "Whatever you do, don't let her pick you up from the station – she's half-blind." She also said: "Don't eat any of the cake she offers. She's always got some, and it's always about five weeks old."

Verily did have cake and it was past its best – but Verily definitely was not. She regaled me with anecdotes. I came away with the image of a woman with a twinkle in her eye, who after eight decades of writing was still full of energy and enthusing about her latest project. This – a memoir of the time she spent at Herstmonceux Castle, Sussex, in the 1930s and 40s – was completed the day before she died.

Verily is survived by her children, Marian, Rachel, Eddie, Janie and Alexandra, 16 grandchildren, 14 great-grandchildren – and Alfie, her beloved RNIB guide-dog.

• Verily Anderson, writer, born 12 January 1915, died 16 July 2010


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Tom Stoppard returns to BBC with Ford Madox Ford adaptation

The American literary genre of you can't go home again – that fertile ground farmed by Faulkner, Twain and Kerouac – has in the last half-century found a new voice abroad

At six foot, six inches tall, Thomas Wolfe had trouble entering most rooms. But he also had a problem with going back through them, especially if they led to the past. He had told too many truths – and too many lies – about where he came from in North Carolina.

In his posthumous 1940 novel, You Can't Go Home Again, he gave Americans a literary catchphrase for the pain so many of us who wind up far from where we grew up feel acutely.

After all, in the case of many Americans, if you leave the provinces only to return home, you are marked as a failure. At the very least, you run the risk of finding that flight has spoiled any fond memories you managed to smuggle out.

Think of the successful ad-man hero of John Updike's The Farm, who returns to his family's crumbling Pennsylvania farm for an emotionally fraught visit, or Quentin Compson of William Faulkner's Absalom, Absalom, shivering in his dorm room at Harvard, who begins his defence of the American south with the ringing endorsement, "I don't hate it ... I don't hate it."

This thread of conflicted nostalgia is strongest in America's most autobiographical novelists, especially the ones who had to leave to write but continuously dial back the past in their work: writers such as Jack Kerouac, who frantically travelled America, but wrote most of his later books about Lowell, while living with his mother in Queens and Florida.

Then there's Mark Twain, whose autobiography appears in the new issue of Granta, who rose out of Missouri and saw the world, but settled in Hartford, Connecticut in a white mansion that everyone around him could see looked exactly like a river steamboat.

But like so many things America feels it has invented, from democracy to baseball, the you-can-never-go-home again narrative is hardly unique to it. In fact, in the last half-century (and especially in the last 20 years, as diaspora writers from the Dominican Republic to Nigeria to India and Pakistan have emerged as some of our most vigorous storytellers), nostalgia – which is a combination of "returning home" and "ache" – has taken on a different texture.

In Granta's new issue, there's a story by the Sudanese writer Leila Aboulela, about a young man who has come to London from Khartoum to study mathematics. His mother, who worries he will never return, arranges for him to marry a devout Muslim wife – a move which backfires when she comes to London and reminds him of everything he left behind. Chimamanda Adichie, meanwhile, has a story about a Nigerian "big man" whose life is turned upside down when his ex-girlfriend announces she has come back to Lagos. As he speculates about the reasons for her return, Adichie's hero worries whether he has sacrificed something essential in his rise to the top.

In stories like these, not to mention the novels of Monica Ali or Kiran Desai or Uzma Aslam Khan, the export duty to elsewhere is high. The past isn't just the past – it's another country. And for reasons political and personal, there is no going back.


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