My rating: 3 of 5 stars
Julian Symons is perhaps best known as a crime writer. He also wrote poetry, social and military history, biography, literary criticism … He was a prolific, as a glance at his Wikipedia page will testify.
This book looks at the role of the arts – particularly literature, and particularly Auden, in the decade of the 1930s. Symons also discusses political movements – particularly of the left – and their connections to those artistic currents. Symons, who was in his twenties at the time, was a member of the intellectual and political groups he discusses, so has first-hand knowledge of the authors and artists in those groups, and of the political atmosphere at the time.
My knowledge of Thirties literature – particularly poetry – and the politics of the intelligentsia is limited. This book was, therefore, an interesting introduction to the period. Because my knowledge is limited, however, I cannot tell if the book was tendentious. Symons, to his credit, sometimes mocks his younger self, sometimes is appalled by him. The feeling I took from the book was that Symons was sympathetic to left-wing views, but was not a prosletyser, nor a zealot. Indeed, as he admits – and here is one of those moments he was appalled with himself – he sometimes took on the persona of a more right-wing individual in reaction against the zealous left-ism of the intelligentsia in which he found himself.
The book is short and easy to read – useful if all of this is new to you – and the chapters snappy and concise (each chapter tends to introduce a topic and then spin and divagate around it – Auden, poetry, politics, theatre, the New Left Review, Gollancz, and so on were all introduced in chapters of little more than five or ten pages. The subjects of these chapters would then reappear, weaving their way through the Thirties until Spain and Munich.
The book is, then, a concise look at a particular period in British political and intellectual history, and will be of interest to those, like me, who had little knowledge of that period and that milieu. The book also (re)introduced me to some poets I had heard of but knew little of, such as Stephen Spender and Gavin Ewart – and the few line lines and stanzas Symons provides from these poets to colour his themes has spurred my interest in reading more of them.