![]() ![]() This ‘beautiful tale about corpses’ ( L 252) was exultantly written at speed, in his old, terse style. Waugh turned with relief to his new discovery, ‘a deep mine of literary gold in the cemetery of Forest Lawn’ ( D 675), the source of The Loved One. But his succinct Memorandum summarized the novel's implications in vain, and within a month the censor rejected the project. Waugh gamely discovered ‘something a little luxurious in talking in great detail about every implication of a book which the others are paid to know thoroughly’. ![]() None of them see the theological implication’ ( D 673). He has been in Hollywood for years and sees Brideshead purely as a love story. The ‘writer’ (not Waugh) enters in ‘local costume – a kind of woollen blazer, matelot's vest, buckled shoes. Waugh's diary entry for the first ‘conference’ on 7 February is ominously ironic. Waugh and Laura's post-war jaunt to Hollywood in 1947 was engineered, not entirely seriously, to discuss the filming of Brideshead with MGM's executives. ![]()
0 Comments
Leave a Reply. |