By Louis MacNeice
Written among August and December 1938, Autumn Journal remains to be one of the main necessary and relocating testaments of dwelling in the course of the thirties by means of a tender writer.
It is a list of the author's emotional and highbrow event in the course of these months, the trivialities of daily residing set opposed to the occasions of the area outdoors, the cost in Munich and sluggish defeat in Spain.
[Reprint from a e-book first released in 1939.]
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Extra resources for Autumn Journal: A Poem
Kim is a limpid eye through which he looks back on 'the great and beautiful land' of Hind. The vision is romantic in that, though complex in detail, it is simplified in impact. It is a youthful, enthusiastic and acquisitive vision. It is the artist's 'loot', though Kim is no artist, but content to immerse his self-contained, ambiguous little entity in the warm and flashing stream. It is not, however, a romance of maharajahs and fabulous jewels; it is nearer to the romance that brings up the nine-fifteen; the characters are small landowners, horse-dealers, peasants, shopkeepers and clerks, and Kim has no taste at all for the heavyfooted soldiery with their red faces.
I can find other technical reasons for my recoil; the words 'sacred and intimate' are an intrusion of the author on his story; they are an appeal to the reader to supplement what the author should have told through his characters and his incidents. But these are all rationalizations of a personal distaste. Such blemishes diminish in the perspective of time and are taken with less perturbation, even where they are still disapproved. Let an author be a hundred x8 KIPLING AND THE NOVEL years dead and they are seen as the idiom of his genius, running into temporary excess, and a variant of that of his age.
L. Stevenson and Lloyd Osbourne. It is not a book that has attracted much attention lately, but it delighted Kipling. relf, and a quotation from one of its arabesques unites the Agent-General and the narrator in 'The Vortex'. Possibly its Gilbertian sporting with the macabre may go for something in 'Aunt Ellen', though this is a far cry. The book was first written by Stevenson's nineteen-year-old stepson, and was ready for the press before there was any question of his collaboration. Then he read it, fell in love with it, and took it in hand.