Wyndham Lewis (1882–1957)

Wyndham Lewis - [Rotting Hill]
It is difficult to review a book and to be positive when the authors views are so totally opposed to mine. Wyndham Lewis was a British writer, painter and art critic who died in 1957. Rotting Hill published in 1951 is described as a novel, but really it is a collection of short stories, linked together by Lewis himself. In a forward to the book Lewis claims that politics cannot be avoided in the modern novel and most of these stories are little more than political debates between the author and selected characters.

Rotting Hill is the rot that the socialist government in Britain (the Labour government elected immediately after the end of the second world war) is spreading throughout the country, starting in London where the houses of parliament are situated. In the first and longest story the reverend Rhymer based in an obscure village called Bagwick wishes to buy one of the authors paintings and the two men discuss the current political situation. Rhymer is a socialist and supporter of the Labour government and Lewis describes his struggles with the local landowner who is opposed to a government which are increasing taxes. Rhymer despite his openness and modern views, struggles to get people to come to church and when he visits the local pub the landowner picks a fight with him and his employees gang up and give Rhymer a good beating. Lewis is not above saying that Rhymer got what he deserved. The next story has Lewis travelling first class on a train to Oxford where he gets into a political discussion with a fellow passenger: in this shorter story Lewis's views are a little more fair minded, but he has little sympathy for the working man:

"The British working class is the reverse of socially ambitious. Always it has been the despair of the agitator; a mass as difficult to ignite as a rain soaked mackintosh. It has been content to be an animal, fond of beer and football."

The Rot is a story personal to Lewis as he describes the dry rot that is discovered in his house and is literally eating it away. This is likened to the Labour government. The second longest story is Room without a Telephone which is unusual in that it largely avoids a diatribe against the socialist government. In this one Paul Eldred needs an abdominal operation and his physician advises him to have his teeth removed at the same time (medical advice in the early 1950's in England often identified the poor state of teeth as the causes of illness). Eldred is a high flying business man and is advised that the best medical care would be outside of the new National Health service and so he goes private and ends up in a nursing home run by Nuns. He asks for a room without a telephone and is shown a cell sparsely furnished. This atmospheric story describes the horrors of 1950's medical care. Most of the other stories follow the discussions that Lewis has with various people, perhaps the most interesting is the visit to the Houses of Parliament.

Lewis views seem to be that freedom to do what one wants is the all consuming position and that taxes are too high. There are too many obstacles placed in the way of freedom to use ones capital and anything state run leads to a lowering of standards that can only get worse. Today I suppose he would be labelled as a neoliberal. I will not be reading anything else by this author if I can avoid it and I refuse to be positive, despite a couple of half decent stories. - 2 stars.… (más)

In December 1913, Ezra Pound wrote to William Carlos Williams calling the London art/literary scene ''The Vortex.'' Wyndham Lewis in turn appropriated the term to christen his budding movement in the arts, ''Vorticism.'' Vorticism was baptized on June 20, 1914 in the first issue of BLAST, A Review of the Great English Vortex - Lewis's revolutionary magazine. BLAST is now considered one of this century's examples of modernist expression and typography, both historically indispensable and a milestone in modern thought. To the artistic audience of its time, the first issue of BLAST came as a brutal shock (Lewis's plan was to create a ''battering ram''), a quality that has been preserved in this first facsimile edition. Described by Lewis as ''violent pink,'' but by some others as the ''puce monster,'' the large format magazine displayed radical typography and design, featuring a ''Vorticist Manifesto'' and eye-popping lists of items to be ''Blessed'' and ''Blasted.'' This new edition of BLAST documents in its original format the raw energy, violent humor, and graphic inventiveness.

Introduction by Paul Edwards.… (más)