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Memorials and Other Papers by Thomas de Quincey

T >> Thomas de Quincey >> Memorials and Other Papers

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The voice of the Landgrave was heard at times, briefly and somewhat
sternly in reply, but apparently in the tone of one who is thrown upon
the necessity of self-defence. On the other side, the speaker was
earnest, solemn, and (as it seemed) upon an office of menace or
upbraiding. For a time, however, the tones were low and subdued; but,
as the passion of the scene advanced, less restraint was observed on
both sides; and at length many believed that in the stranger's voice
they recognized that of the lady abbess; and it was some corroboration
of this conjecture, that the name of Paulina began now frequently to be
caught, and in connection with ominous words, indicating some dreadful
fate supposed to have befallen her.

A few moments dispersed all doubts. The tones of bitter and angry
reproach rose louder than before; they were, without doubt, those of
the abbess. She charged the blood of Paulina upon the Landgrave's head;
denounced the instant vengeance of the emperor for so great an
atrocity; and, if that could be evaded, bade him expect certain
retribution from Heaven for so wanton and useless an effusion of
innocent blood.

The Landgrave replied in a lower key; and his words were few and rapid.
That they were words of fierce recrimination, was easily collected from
the tone; and in the next minute the parties separated with little
ceremony (as was sufficiently evident) on either side, and with mutual
wrath. The Landgrave reentered the banqueting-room; his features
discomposed and inflated with passion; but such was his self-command,
and so habitual his dissimulation, that, by the time he reached his
seat, all traces of agitation had disappeared; his countenance had
resumed its usual expression of stern serenity, and his manners their
usual air of perfect self-possession.

* * * * *

The clock of St. Agnes struck twelve. At that sound the Landgrave rose.
"Friends and illustrious strangers!" said he, "I have caused one seat
to be left empty for that blood-stained Masque, who summoned me to
answer on this night for a crime which he could not name, at a bar
which no man knows. His summons you heard. Its fulfilment is yet to
come. But I suppose few of us are weak enough to expect--"

"That The Masque of Klosterheim will ever break his engagements," said
a deep voice, suddenly interrupting the Landgrave. All eyes were
directed to the sound; and, behold! there stood The Masque, and seated
himself quietly in the chair which had been left vacant for his
reception.

"It is well!" said the Landgrave; but the air of vexation and panic
with which he sank back into his seat belied his words. Rising again,
after a pause, with some agitation, he said, "Audacious criminal! since
last we met, I have learned to know you, and to appreciate your
purposes. It is now fit they should be known to Klosterheim. A scene of
justice awaits you at present, which will teach this city to understand
the delusions which could build any part of her hopes upon yourself.
Citizens and friends, not I, but these dark criminals and interlopers
whom you will presently see revealed in their true colors, are
answerable for that interruption to the course of our peaceful
festivities, which will presently be brought before you. Not I, but
they are responsible."

So saying, the Landgrave arose, and the whole of the immense audience,
who now resumed their masques, and prepared to follow whither his
highness should lead. With the haste of one who fears he may be
anticipated in his purpose, and the fury of some bird of prey,
apprehending that his struggling victim may be yet torn from his
talons, the prince hurried onwards to the ante-chapel. Innumerable
torches now illuminated its darkness; in other respects it remained as
St. Aldenheim had left it.

The Swedish masques had many of them withdrawn from the gala on hearing
the dreadful day of Nordlingen. But enough remained, when strengthened
by the body-guard of the Landgrave, to make up a corps of nearly five
hundred men. Under the command of Colonel von Aremberg, part of them
now enclosed the scaffold, and part prepared to seize the persons who
were pointed out to them as conspirators. Amongst these stood foremost
The Masque.

Shaking off those who attempted to lay hands upon him, he strode
disdainfully within the ring; and then, turning to the Landgrave, he
said--

"Prince, for once be generous; accept me as a ransom for the rest."

The Landgrave smiled sarcastically. "That were an unequal bargain,
methinks, to take a part in exchange for the whole."

"The whole? And where is, then, your assurance of the whole?"

"Who should now make it doubtful? There is the block; the headsman is
at hand. What hand can deliver from this extremity even you, Sir
Masque?"

"That which has many times delivered me from a greater. It seems,
prince, that you forget the last days in the history of Klosterheim. He
that rules by night in Klosterheim may well expect a greater favor than
this when he descends to sue for it."

The Landgrave smiled contemptuously. "But, again I ask you, sir, will
you on any terms grant immunity to these young men?"

"You sue as vainly for others as you would do for yourself."

"Then all grace is hopeless?" The Landgrave vouchsafed no answer, but
made signals to Von Aremberg.

"Gentlemen, cavaliers, citizens of Klosterheim, you that are not
involved in the Landgrave's suspicions," said The Masque, appealingly,
"will you not join me in the intercession I offer for these young
friends, who are else to perish unjudged, by blank edict of martial
law?"

The citizens of Klosterheim interceded with ineffectual supplication.
"Gentlemen, you waste your breath; they die without reprieve," replied
the Landgrave.

"Will your highness spare none?"

"Not one," he exclaimed, angrily,--"not the youngest amongst them."

"Nor grant a day's respite to him who may appear, on examination, the
least criminal of the whole?"

"A day's respite? No, nor half an hour's. Headsman, be ready. Soldiers,
lay the heads of the prisoners ready for the axe."

"Detested prince, now look to your own!"

With a succession of passions flying over his face,--rage, disdain,
suspicion,--the Landgrave looked round upon The Masque as he uttered
these words, and, with pallid, ghastly consternation, beheld him raise
to his lips a hunting-horn which depended from his neck. He blew a
blast, which was immediately answered from within. Silence as of the
grave ensued. All eyes were turned in the direction of the answer.
Expectation was at its summit; and in less than a minute solemnly
uprose the curtain, which divided the chapel from the ante-chapel,
revealing a scene that smote many hearts with awe, and the consciences
of some with as much horror as if it had really been that final
tribunal which numbers believed The Masque to have denounced.


CHAPTER XXVI.


The great chapel of St. Agnes, the immemorial hall of coronation for
the Landgraves of X----, was capable of containing with ease from seven
to eight thousand spectators. Nearly that number was now collected in
the galleries, which, on the recurrence of that great occasion, or of a
royal marriage, were usually assigned to the spectators. These were all
equipped in burnished arms, the very _elite_ of the imperial army.
Resistance was hopeless; in a single moment the Landgrave saw himself
dispossessed of all his hopes by an overwhelming force; the advanced
guard, in fact, of the victorious imperialists, now fresh from
Nordlingen.

On the marble area of the chapel, level with their own position, were
arranged "a brilliant staff of officers; and, a little in advance of
them, so as almost to reach the ante-chapel, stood the imperial legate
or ambassador. This nobleman advanced to the crowd of Klosterheimers,
and spoke thus:

"Citizens of Klosterheim, I bring you from the emperor your true and
lawful Landgrave, Maximilian, son of your last beloved prince."

Both chapels resounded with acclamations; and the troops presented
arms.

"Show us our prince! let us pay him our homage!" echoed from every
mouth.

"This is mere treason!" exclaimed the usurper. "The emperor invites
treason against his own throne, who undermines that of other princes.
The late Landgrave had no son; so much is known to you all."

"None that was known to his murderer," replied The Masque, "else had he
met no better fate than his unhappy father."

"Murderer! And what art thou, blood-polluted Masque, with hands yet
reeking from the blood of all who refused to join the conspiracy
against your lawful prince?"

"Citizens of Klosterheim," said the legate, "first let the emperor's
friend be assoiled from all injurious thoughts. Those whom ye believe
to have been removed by murder are here to speak for themselves."

Upon this the whole line of those who had mysteriously disappeared from
Klosterheim presented themselves to the welcome of their astonished
friends.

"These," said the legate, "quitted Klosterheim, even by the same secret
passages which enabled us to enter it, and for the self-same purpose,--
to prepare the path for the restoration of the true heir, Maximilian
the Fourth, whom in this noble prince you behold, and whom may God long
preserve!"

Saying this, to the wonder of the whole assembly, he led forward The
Masque, whom nobody had yet suspected for more than an agent of the
true heir.

The Landgrave, meantime, thus suddenly denounced as a tyrant, usurper,
murderer, had stood aloof, and had given but a slight attention to the
latter words of the legate. A race of passions had traversed his
countenance, chasing each other in flying succession. But by a
prodigious effort he recalled himself to the scene before him; and,
striding up to the crowd, of which the legate was the central figure,
he raised his arm with a gesture of indignation, and protested
vehemently that the assassination of Maximilian's father had been
iniquitously charged upon himself.--"And yet," said he, "upon that one
gratuitous assumption have been built all the other foul suspicions
directed against my person."

"Pardon me, sir," replied the legate, "the evidences were such as
satisfied the emperor and his council; and he showed it by the
vigilance with which he watched over the Prince Maximilian, and the
anxiety with which he kept him from approaching your highness, until
his pretensions could be established by arms. But, if more direct
evidence were wanting, since yesterday we have had it in the dying
confession of the very agent employed to strike the fatal blow. That
man died last night, penitent and contrite, having fully unburdened his
conscience, at Waldenhausen. With evidence so overwhelming, the emperor
exacts no further sacrifice from your highness than that of retirement
from public life, to any one of your own castles in your patrimonial
principality of Oberhornstein.--But, now for a more pleasing duty.
Citizens of Klosterheim, welcome your young Landgrave in the emperor's
name: and to-morrow you shall welcome also your future Landgravine, the
lovely Countess Paulina, cousin to the emperor, my master, and cousin
also to your noble young Landgrave."

"No!" exclaimed the malignant usurper, "her you shall never see alive;
for that, be well assured, I have taken care."

"Vile, unworthy prince!" replied Maximilian, his eyes kindling with
passion, "know that your intentions, so worthy of a fiend, towards that
most innocent of ladies, have been confounded and brought to nothing by
your own gentle daughter, worthy of a far nobler father."

"If you speak of my directions for administering the torture,--a matter
in which I presume that I exercised no unusual privilege amongst German
sovereigns,--you are right. But it was not that of which I spoke."

"Of what else, then?--The Lady Paulina has escaped."

"True, to Falkenberg. But, doubtless, young Landgrave, you have heard
of such a thing as the intercepting of a fugitive prisoner; in such a
case, you know the punishment which martial law awards. The governor at
Falkenberg had his orders." These last significant words he uttered in
a tone of peculiar meaning. His eye sparkled with bright gleams of
malice and of savage vengeance, rioting in its completion.

"O, heart--heart!" exclaimed Maximilian, "can this be possible?"

The imperial legate and all present crowded around him to suggest such
consolation as they could. Some offered to ride off express to
Falkenberg; some argued that the Lady Paulina had been seen within the
last hour. But the hellish exulter in ruined happiness destroyed that
hope as soon as it dawned.

"Children!" said he, "foolish children! cherish not such chimeras. Me
you have destroyed, Landgrave, and the prospects of my house. Now
perish yourself.--Look there: is that the form of one who lives and
breathes?"

All present turned to the scaffold, in which direction he pointed, and
now first remarked, covered with a black pall, and brought hither
doubtless to aggravate the pangs of death to Maximilian, what seemed
but too certainly a female corpse. The stature, the fine swell of the
bust, the rich outline of the form, all pointed to the same conclusion;
and, in this recumbent attitude, it seemed but too clearly to present
the magnificent proportions of Paulina.

There was a dead silence. Who could endure to break it? Who make the
effort which was forever to fix the fate of Maximilian?

He himself could not. At last the deposed usurper, craving for the
consummation of his vengeance, himself strode forward; with one savage
grasp he tore away the pall, and below it lay the innocent features,
sleeping in her last tranquil slumber, of his own gentle-minded
daughter!

* * * * *

No heart was found savage enough to exult; the sorrow even of such a
father was sacred. Death, and through his own orders, had struck the
only being whom he had ever loved; and the petrific mace of the fell
destroyer seemed to have smitten his own heart, and withered its hopes
forever.

Everybody comprehended the mistake in a moment. Paulina had lingered at
Waldenhausen under the protection of an imperial corps, which she had
met in her flight. The tyrant, who had heard of her escape, but
apprehended no necessity for such a step on the part of his daughter,
had issued sudden orders to the officer commanding the military post at
Falkenberg, to seize and shoot the female prisoner escaping from
confinement, without allowing any explanations whatsoever, on her
arrival at Falkenberg. This precaution he had adopted in part to
intercept any denunciation of the emperor's vengeance which Paulina
might address to the officer. As a rude soldier, accustomed to obey the
letter of his orders, this commandant had executed his commission; and
the gentle Adeline, who had naturally hastened to the protection of her
father's chateau, surrendered her breath meekly and with resignation to
what she believed a simple act of military violence; and this she did
before she could know a syllable of her father's guilt or his fall, and
without any the least reason for supposing him connected with the
occasion of her early death.

At this moment Paulina made her appearance unexpectedly, to reassure
the young Landgrave by her presence, and to weep over her young friend,
whom she had lost almost before she had come to know her. The scaffold,
the corpse, and the other images of sorrow, were then withdrawn; seven
thousand imperial troops presented arms to the youthful Landgrave and
the future Landgravine, the brilliant favorites of the emperor; the
immense area of St. Agnes resounded with the congratulations of
Klosterheim; and as the magnificent cortege moved off to the interior
of the _schloss_, the swell of the coronation anthem rising in
peals upon the ear from the choir of St. Agnes, and from the military
bands of the imperial troops, awoke the promise of happier days, and of
more equitable government, to the long-harassed inhabitants of
Klosterheim.

* * * * *

The Klosterheimers knew enough already, personally or by questions
easily answered in every quarter, to supply any links which were
wanting in the rapid explanations of the legate. Nevertheless, that
nothing might remain liable to misapprehension or cavil, a short
manifesto was this night circulated by the new government, from which
the following facts are abstracted:

The last rightful Landgrave, whilst yet a young man, had been
assassinated in the forest when hunting. A year or two before this
catastrophe he had contracted what, from the circumstances, was
presumed, at the time, to be a _morganatic_ or left-handed
marriage, with a lady of high birth, nearly connected with the imperial
house. The effect of such a marriage went to incapacitate the children
who might be born under it, male or female, from succeeding. On that
account, as well as because current report had represented her as
childless, the widow lady escaped all attempts from the assassin.
Meantime this lady, who was no other than Sister Madeline, had been
thus indebted for her safety to two rumors, which were in fact equally
false. She soon found means of convincing the emperor, who had been the
bosom friend of her princely husband, that her marriage was a perfect
one, and conferred the fullest rights of succession upon her infant son
Maximilian, whom at the earliest age, and with the utmost secrecy, she
had committed to the care of his imperial majesty. This powerful
guardian had in every way watched over the interests of the young
prince. But the Thirty Years' War had thrown all Germany into
distractions, which for a time thwarted the emperor, and favored the
views of the usurper. Latterly, also, another question had arisen on
the city and dependences of Klosterheim, as distinct from the
Landgraviate. These, it was now affirmed, were a female appanage, and
could only pass back to the Landgraves of X---- through a marriage with
the female inheretrix. To reconcile all claims, therefore, on finding
this bar in the way, the emperor had resolved to promote a marriage for
Maximilian with Paulina, who stood equally related to the imperial
house and to that of her lover. In this view he had despatched Paulina
to Klosterheim, with proper documents to support the claims of both
parties. Of these documents she had been robbed at Waldenhausen; and
the very letter which was designed to introduce Maximilian as "the
child and sole representative of the late murdered Landgrave," falling
in this surreptitious way into the usurper's hand, had naturally
misdirected his attacks to the person of Paulina.

For the rest, as regarded the mysterious movements of The Masque, these
were easily explained. Fear, and the exaggerations of fear, had done
one half the work to his hands, by preparing people to fall easy dupes
to the plans laid, and by increasing the romantic wonders of his
achievements. Cooperation, also, on the part of the very students and
others, who stood forward as the night-watch for detecting him, had
served The Masque no less powerfully. The appearances of deadly
struggles had been arranged artificially to countenance the plot and to
aid the terror. Finally, the secret passages which communicated between
the forest and the chapel of St. Agnes (passages of which many were
actually applied to that very use in the Thirty Years' War) had been
unreservedly placed at their disposal by the lady abbess, an early
friend of the unhappy Landgravine, who sympathized deeply with that
lady's unmerited sufferings.

One other explanation followed, communicated in a letter from
Maximilian to the legate; this related to the murder of the old
seneschal,--a matter in which the young prince took some blame to
himself, as having unintentionally drawn upon that excellent servant
his unhappy fate. "The seneschal," said the writer, "was the faithful
friend of my family, and knew the whole course of its misfortunes. He
continued his abode at the _schloss_, to serve my interest; and in
some measure I may fear that I drew upon him his fate. Traversing late
one evening a suite of rooms, which his assistance and my own
mysterious disguise laid open to my passage at all hours, I came
suddenly upon the prince's retirement. He pursued me, but with
hesitation. Some check I gave to his motions by halting before a
portrait of my unhappy father, and emphatically pointing his attention
to it. Conscience, I well knew, would supply a commentary to my act. I
produced the impression which I had anticipated, but not so strongly as
to stop his pursuit. My course necessarily drew him into the
seneschal's room. The old man was sleeping; and this accident threw
into the prince's hands a paper, which, I have reason to think, shed
some considerable light upon my own pretensions, and, in fact, first
made my enemy acquainted with my existence and my claims. Meantime, the
seneschal had secured the prince's vengeance upon himself. He was now
known as a faithful agent in my service. That fact signed his death-
warrant. There is a window in a gallery which commands the interior of
the seneschal's room. On the evening of the last _fete_,
waiting there for an opportunity of speaking securely with this
faithful servant, I heard a deep groan, and then another, and another;
I raised myself, and, with an ejaculation of horror, looked down upon
the murderer, then surveying his victim with hellish triumph. My loud
exclamation drew the murderer's eye upwards: under the pangs of an
agitated conscience, I have reason to think that he took me for my
unhappy father, who perished at my age, and is said to have resembled
me closely. Who that murderer was, I need not say more directly. He
fled with the terror of one who flies from an apparition. Taking a
lesson from this incident, on that same night, by the very same sudden
revelation of what passed, no doubt, for my father's countenance, aided
by my mysterious character, and the proof I had announced to him
immediately before my acquaintance with the secret of the seneschal's
murder, in this and no other way it was that I produced that powerful
impression upon the prince which terminated the festivities of that
evening, and which all Klosterheim witnessed. If not, it is for the
prince to explain in what other way I did or could affect him so
powerfully."

This explanation of the else unaccountable horror manifested by the ex-
Landgrave on the sudden exposure of The Masque's features, received a
remarkable confirmation from the confession of the miserable assassin
at Waldenhausen. This man's illness had been first brought on by the
sudden shock of a situation pretty nearly the same, acting on a
conscience more disturbed, and a more superstitious mind. In the very
act of attempting to assassinate or rob Maximilian, he had been
suddenly dragged by that prince into a dazzling light; and this
settling full upon features which too vividly recalled to the
murderer's recollection the last unhappy Landgrave, at the very same
period of blooming manhood, and in his own favorite hunting palace, not
far from which the murder had been perpetrated, naturally enough had
for a time unsettled the guilty man's understanding, and, terminating
in a nervous fever, had at length produced his penitential death.

A death, happily of the same character, soon overtook the deposed
Landgrave. He was laid by the side of his daughter, whose memory, as
much even as his own penitence, availed to gather round his final
resting-place the forgiving thoughts even of those who had suffered
most from his crimes. Klosterheim in the next age flourished greatly,
being one of those cities which benefited by the peace of Westphalia.
Many changes took place in consequence, greatly affecting the
architectural character of the town and its picturesque antiquities;
but, amidst all revolutions of this nature, the secret passages still
survive, and to this day are shown occasionally to strangers of rank
and consideration, by which, more than by any other of the advantages
at his disposal, The Masque of Klosterheim was enabled to replace
himself in his patrimonial rights, and at the same time to liberate
from a growing oppression his own compatriots and subjects.




THE SPHINX'S RIDDLE.


The most ancient [Footnote: That is, amongst stories not wearing a
_mythologic_ character, such as those of Prometheus, Hercules, &c.
The era of Troy and its siege is doubtless by some centuries older than
its usual chronologic date of nine centuries before Christ. And
considering the mature age of Eteocles and Polynices, the two sons of
oedipus, at the period of the "_Seven against Thebes_," which seven
were contemporary with the _fathers_ of the heroes engaged in the
Trojan war, it becomes necessary to add sixty or seventy years to the
Trojan date, in order to obtain that of oedipus and the Sphinx. Out of
the Hebrew Scriptures, there is nothing purely historic so old as
this.] story in the Pagan records, older by two generations than the
story of Troy, is that of oedipus and his mysterious fate, which wrapt
in ruin both himself and all his kindred. No story whatever continued
so long to impress the Greek sensibilities with religious awe, or was
felt by the great tragic poets to be so supremely fitted for scenical
representation. In one of its stages, this story is clothed with the
majesty of darkness; in another stage, it is radiant with burning
lights of female love, the most faithful and heroic, offering a
beautiful relief to the preternatural malice dividing the two sons of
oedipus. This malice was so intense, that when the corpses of both
brothers were burned together on the same funeral pyre (as by one
tradition they were), the flames from each parted asunder, and refused
to mingle. This female love was so intense, that it survived the death
of its object, cared not for human praise or blame, and laughed at the
grave which waited in the rear for itself, yawning visibly for
immediate retribution. There are four separate movements through which
this impassioned tale devolves; all are of commanding interest; and all
wear a character of portentous solemnity, which fits them for
harmonizing with the dusky shadows of that deep antiquity into which
they ascend.

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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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