The Complex and Curmudgeonly Character of Evelyn Waugh

Article excerpt

EVELYN WAUGH: A BIOGRAPHY

By Selina Hastings

Houghton Mifflin,

724 pp., $40

TO the generation that came of age in the 1920s, Evelyn Waugh's scintillating satires seemed to epitomize the style of an era. Yet successive generations have also turned and returned to his fiction for the fresh insights it continues to provide into odd corners of the human heart.

"With every major writer there is room for at least three biographies," declares Evelyn Waugh's latest biographer, Selina Hastings. Each portrays its subject from a distinct vantage: "the memoir written by a personal friend" (Christopher Sykes's 1975 life of Waugh); "the academic biography" (Martin Stannard's two-volume work, published in 1987 and 1992); and "the more general account" (that is to say, her own.)

Although Hastings's quasi-Hegelian biographical triad may sound a trifle self-justifying, her "general account" of Waugh is indeed a comprehensive, immensely readable biography that not only contains some original new research, but also offers a fresh look at a notoriously contradictory personality.

It's not that Hastings presents a Waugh who is radically different from the Waugh of Sykes or Stannard. This is, essentially, the same curmudgeonly character, well known for his relentless snobbery, his belligerent espousal of Roman Catholicism, his inspired wit, and his ability to alienate stranger, friend, and foe alike. Readers will recognize the hard-drinking, deliberately outrageous sophisticate who chronicled and took part in the dissipations of the "bright young things" in the 1920s, while seeking refuge from the soulessness of modern times in the orderly structure of the faith he adopted in 1930.

And this is that same consummate craftsman who proved himself equally adept at the brittle and brilliant black comedy of "Decline and Fall" and the poignantly elegiac romanticism of "Brideshead Revisited."

Hastings perhaps does Stannard's work a slight injustice in categorizing it as "academic," for, like hers, it is a lively, gracefully written portrait, combining sympathy with critical objectivity. More than twice the length of Hastings' book, Stannard's provides more detail of every kind, personal as well as historical.

Hastings has managed to unearth some new material, although she has left out some of the more intriguing stories Stannard tells about Waugh's later years, such as his support for a Jesuit in trouble with the church.

The chief difference between the two books, however, is a question of focus. Stannard views Waugh from a greater distance, placing him in the context of his historical era. Hastings' portrait is more of a close-up.

Describing Waugh's attraction to Kenya's white-settler society for example, Stannard paints in the full background: "1931 saw a National Government formed under Ramsay MacDonald in a desperate attempt to control an unstable political situation. The Statute of Westminister gave independence to the Dominions. At home, it was a period of financial depression. Revolution was in the air as the workers and unemployed took to the streets. …