Edward Burne-Jones
Penelope Fitzgerald, the Booker Prize-winning author of ‘Offshore’ and ‘The Blue Flower’, turns her attention to the remarkable life of the Pre-Raphaelite artist Edward Burne-Jones.‘I mean by a picture a beautiful, romantic dream of something that never was, never will be, in a light better than any light that ever shone – in a land no one can define or remember, only desire’ Edward Burne-JonesEdward Burne-Jones (1833-1898) was the prototypical pre-Raphaelite but with a truly individual sensibility. Penelope Fitzgerald’s delightful biography charts his life from humble beginnings in Birmingham as the son of an unsuccessful framer, through a transformative period at Oxford, where he met his close friend and collaborator William Morris, and on to the apprenticeship with Dante Gabriel Rossetti that would shape his artistic vision.His work harks back to an Arthurian England – an Arcadia that offered solace against the onset of the Industrial Revolution, and on a deeply personal level provided respite from his ever-present melancholia. This is an illuminating portrait of a fascinating figure – artistic genius, doting father, troubled husband – written with all Penelope Fitzgerald’s characteristic sympathy and insight.
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To Valpy, Tina and Maria
CONTENTS
Penelope Fitzgerald: Preface by Hermione Lee, Advisory Editor
1. 1833–53: A childhood without beauty
2. 1853–5: Oxford: loss and gain
3. 1855–6: Morris and Jones; the quest for a vocation
4. 1856: An apprenticeship to Rossetti
5. 1856–60: The long engagement
6. 1860–2: Expansion: the firm, Ruskin and Italy
7. 1863–5: Green Summer: a season of happiness
8. 1865–6: Friends and enemies
9. 1866–7: A threat to the Earthly Paradise
10. 1867–70: Phyllis and Demophoön: the dangers of enchantment
11. 1870–6: The desolate years
12. 1876–8: A return to the world: the Grosvenor Gallery
13. 1878–84: King Cophetua: the studio in the eighties
14. 1884–90: The Royal Academy: ‘to think, Jones, of your coming to this!’
15. 1890–2: Briar Rose: Burne-Jones in the nineties
16. 1892–4: ‘The best in me has been love’
17. 1894–6: The Kelmscott Chaucer and the parting of friends
18. 1896–8: Rottingdean and Avalon
1. Unpublished Material
Appendix 2: Paintings by Burne-Jones mentioned in the text and now in public collections
When Penelope Fitzgerald unexpectedly won the Booker Prize with Offshore, in 1979, at the age of sixty-three, she said to her friends: ‘I knew I was an outsider.’ The people she wrote about in her novels and biographies were outsiders, too: misfits, romantic artists, hopeful failures, misunderstood lovers, orphans and oddities. She was drawn to unsettled characters who lived on the edges. She wrote about the vulnerable and the unprivileged, children, women trying to cope on their own, gentle, muddled, unsuccessful men. Her view of the world was that it divided into ‘exterminators’ and ‘exterminatees’. She would say: ‘I am drawn to people who seem to have been born defeated or even profoundly lost.’ She was a humorous writer with a tragic sense of life.
Outsiders in literature were close to her heart, too. She was fond of underrated, idiosyncratic writers with distinctive voices, like the novelist J. L. Carr, or Harold Monro of the Poetry Bookshop, or the remarkable and tragic poet Charlotte Mew. The publisher Virago’s enterprise of bringing neglected women writers back to life appealed to her, and under their imprint she championed the nineteenth-century novelist Margaret Oliphant. She enjoyed eccentrics like Stevie Smith. She liked writers, and people, who stood at an odd angle to the world. The child of an unusual, literary, middle-class English family, she inherited the Evangelical principles of her bishop grandfathers and the qualities of her Knox father and uncles: integrity, austerity, understatement, brilliance and a laconic, wry sense of humour.
She did not expect success, though she knew her own worth. Her writing career was not a usual one. She began publishing late in her life, around sixty, and in twenty years she published nine novels, three biographies and many essays and reviews. She changed publisher four times when she started publishing, before settling with Collins, and she never had an agent to look after her interests, though her publishers mostly became her friends and advocates. She was a dark horse, whose Booker Prize, with her third novel, was a surprise to everyone. But, by the end of her life, she had been shortlisted for it several times, had won a number of other British prizes, was a well-known figure on the literary scene, and became famous, at eighty, with the publication of The Blue Flower and its winning, in the United States, the National Book Critics Circle Award.
Yet she always had a quiet reputation. She was a novelist with a passionate following of careful readers, not a big name. She wrote compact, subtle novels. They are funny, but they are also dark. They are eloquent and clear, but also elusive and indirect. They leave a great deal unsaid. Whether she was drawing on the experiences of her own life – working for the BBC in the Blitz, helping to make a go of a small-town Suffolk bookshop, living on a leaky barge on the Thames in the 1960s, teaching children at a stage-school – or, in her last four great novels, going back in time and sometimes out of England to historical periods which she evoked with astonishing authenticity – she created whole worlds with striking economy. Her books inhabit a small space, but seem, magically, to reach out beyond it.
After her death at eighty-three, in 2000, there might have been a danger of this extraordinary voice fading away into silence and neglect. But she has been kept from oblivion by her executors and her admirers. The posthumous publication of her stories, essays and letters is now being followed by a biography (Penelope Fitzgerald: A Life, by Hermione Lee, Chatto & Windus, 2013), and by these very welcome reissues of her work. The fine writers who have done introductions to these new editions show what a distinguished following she has. I hope that many new readers will now discover, and fall in love with, the work of one of the most spellbinding English novelists of the twentieth century.
