The following catalog was developed as a special project in bibliography by E. Sharon Graves and published with a version, which differs in part, of Frederick W. P. McDowell's article for Books at Iowa 10 ( April 1969) as a pamphlet titled The Angus Wilson Manuscripts in the University of Iowa Libraries. For the McDowell article, click here. To view the current (year 2000) version of the guide to the Angus Wilson manuscripts (MsC 199), click here.
[now University of Iowa Libraries MsC 199]
BY FREDERICK P. W. MCDOWELL AND E. SHARON GRAVES
Iowa City: Friends of the University of Iowa Libraries, 1969
I. SHORT STORIES
The Wrong Set, and Other
(London: Secker & Warburg, 1949; New York: Morrow, 1950). NOTE: One manuscript notebook may contain more than one short story.
"Significant Experience." Autograph manuscript in pencil and ink with autograph revisions in ink. Some deletions and changes in the published story; three paragraphs added as introduction. 1 notebook, 34 pages on 18 leaves, 6 1/4 x 8 inches.
"Mother's Sense of Fun." Autograph manuscript in ink with autograph revisions in ink. 1 notebook, 16 pages on 16 leaves, 6 1/4 x 7 3/4 inches. This notebook also contains an early version of the same story, entitled "Lonely Without Mother," and fragments of stories written during the war at least two years before Wilson began on the stories which appeared in The Wrong Set. Two introductory paragraphs concerning Donald's lecture trip to America have been dropped in the printed story.
"Saturnalia." Autograph manuscript in pencil and ink with autograph revisions in pencil and ink. 1 note-book, 8 pages on 11 leaves, 7 3/4 x 12 1/2 inches. This notebook also contains manuscripts of "Realpolitik," "A Little Companion" (see Such Darling Dodos, below), "Totentanz," unpublished stories, and various story fragments; also notes on Hugh Walpole's novels for a study never completed.
"Realpolitik." Autograph manuscript in pencil and ink with autograph revisions in pencil and ink. 1 notebook, 6 pages on 6 leaves, 7 3/4 x 12 1/2 inches. See "Saturnalia" above.
"Totentanz." Autograph manuscript in pencil and ink with autograph revisions in pencil and ink. 1 note-book, 12 pages on 15 leaves, 7 3/4 x 12 1/2 inches. "Totentanz" first appeared in Horizon (XIX, May, 1949) and was included in the American edition of The Wrong Set; it subsequently appeared in the British edition of Such Darling Dodos. Wilson prepared a TV version of this story, but it was not produced. See "General and Miscellaneous" below, under III, Criticism and Miscellaneous. The last paragraphs of the published story do not appear in the manuscript. See "Saturnalia" above.
"A Story of Historical Interest." Autograph manuscript in ink with autograph revisions in ink. 1 notebook, 17 pages on 20 leaves, 7 3/4 x 12 ½ inches. This notebook also contains the manuscript of "Necessity's Child" (see Such Darling Dodos below) and of an uncollected story, "An Elephant Never Forgets."
"Raspberry Jam." Autograph manuscript in ink with autograph revisions in ink. 1 notebook, 31 pages on 36 leaves, 7 x 9 inches. This was Wilson's first story. The published version is much revised in detail. Three or four introductory paragraphs, giving further background about Johnny and his family, are deleted in the published story.
"The Wrong Set." Autograph manuscript in ink with autograph revisions in ink. 1 notebook, 19 pages on 19 leaves, 5 x 8 inches. This notebook also contains the manuscript of "Mummy to the Rescue," Such Darling Dodos; see below.
"Et Dona Ferentes." Autograph manuscript in ink with autograph revisions in ink. 1 notebook, 36 pages on 18 leaves, 6 1/2 x 8 inches. Some deletions and changes in the published story.
"Crazy Crowd." Autograph manuscript in pencil and ink with autograph revisions in ink. 1 notebook, 35 pages on 18 leaves, 6 1/4 x 7 7/8 inches. Notebook also contains manuscript of "Rex Imperator," Such Darling Dodos; see below.
There are no manuscripts for these stories: "Fresh Air Fiend," "Union Reunion," and "A Visit in Bad Taste."
Such Darling Dodos, and Other Stories
(London: Seeker & Warburg, 1950; New York: Morrow, 1951).
"Sister Superior." Autograph manuscript in pencil and ink with autograph revisions in pencil and ink.
1 notebook, 10 pages on 10 leaves, 6 7/8 x 8 7/8 inches. The manuscript of a television version under the title "A Slap All Around" appears in another notebook. Notebook contains manuscripts of "Such Darling Dodos" (see below), two preliminary versions of "What Do Hippos Eat?" (see below), notes for an early version of "Heart of Elm" (see below), manuscript of "Rather Flat Country" (which appeared later in a revised form in A Bit Off the Map as "A Flat Country Christmas"), "Such Darling Dodos," and manuscript of a review of F. C. Green, The Mind of Proust.
"Such Darling Dodos." Autograph manuscript in pen-cil and ink with autograph revisions in ink. 1 notebook, 20 pages on 19 leaves, 6 7/8 x 8 7/8 inches. Manuscript also contains notes for story and a preliminary resume. See "Sister Superior" above.
"Learning's Little Tribute." Autograph manuscript in pencil and ink with revisions in ink. 1 notebook, 16 pages on 18 leaves, 6 1/8 x 7 7/8 inches. Notebook also contains manuscripts of "Christmas Day in the Workhouse" (see below) and an unpublished story "Holiday Lessons."
"Christmas Day in the Workhouse." Autograph manuscript in pencil and ink with autograph revisions in pencil and ink. 1 notebook, 27 pages on 27 leaves, 6 1/8 x 7 7/8 inches. See "Learning's Little Tribute" above.
"Rex Imperator." Autograph manuscript in pencil and ink with autograph revisions in pencil and ink. 1 notebook, 16 pages on 8 leaves, 6 1/4 x 7 7/8 inches. Various fragments of earlier versions of this story are also contained in the notebook. One earlier version centers the action more directly in the consciousness of Rex. Notebook also contains manuscript of "Crazy Crowd," The Wrong Set; see above.
"Necessity's Child." Autograph manuscript in ink with autograph revisions in ink. 1 notebook, 13 pages on 7 leaves, 7 3/4 x 12 1/2 inches. First paragraphs are transposed to the close of the printed story. See "A Story of Historical Interest," The Wrong Set, above.
"Mummy to the Rescue." Autograph manuscript in ink with autograph revisions in ink. 1 notebook, 13 pages on 13 leaves, 5 x 8 inches. Opening paragraph in manuscript is different from that in printed ver-sion. See "The Wrong Set," The Wrong Set above.
"A Little Companion." Autograph manuscript in pencil and ink with autograph revisions in pencil and ink. 1 notebook, 9 pages on 9 leaves, 7 3/4 x 12 1/2 inches. See "Saturnalia," The Wrong Set above.
"What do Hippos Eat?" Two preliminary versions only; see "Sister Superior" above.
"Heart of Elm." Notes of early version only. See "Sister Superior" above.
A Bit Off the Map and Other Stories
(London: Seeker & Warburg; New York: Viking Press, 1957) .
"After the Show." Autograph manuscript in ink with autograph revisions in ink. 3 notebooks: 1 is version of second half of the story (20 pages on 20 leaves, 6 1/4 x 77/8 inches) and 2 notebooks contain the TV ver-sion (78 pages on 78 leaves, 7 x 9 inches).
"More Friend than Lodger." Autograph manuscript in ink with autograph revisions in ink. 3 notebooks, 54 pages on 53 leaves, 6 7/8 x 8 7/8 and 6 1/2 x 7 3/4 inches. 1 notebook contains a preliminary version of this story, "A Quarter to Twelve," manuscripts of unpublished stories "Dad's Dreams" and "Judas Jude," and notes and fragments for other stories.
"A Flat Country Christmas." Autograph manuscript in ink with autograph revisions in ink. 1 notebook, 12 pages on 12 leaves, 6 3/8 x 7 3/4 inches. Notebook entitled " `A Flat Country Christmas': Early version under different title [`An Old Old Message'." Final story published in A Bit Off the Map. Several paragraphs have been added to printed story; variations between this early version and printed story occur, but they are not radical ones. See "Sister Superior," Such Darling Dodos above.
"Once a Lady." Autograph manuscript in ink with autograph revisions in ink. 1 notebook, 27 pages on 27 leaves, 6 1/4 x 7 3/4 inches, with notes for story.
"A Bit Off the Map." Autograph manuscript in ink with autograph revisions in ink. 2 notebooks, 55 pages on 55 leaves, 6 1/4 x 8 inches. Copious notes for story in one notebook; sample follows: "Something about Kennie's symbolic obsession must fit the pat-tern of Colonel L's [Lambourn's] delusion. Huggett simply points the way by his dismissal of human ac-tivity. Tristram gives the outside view. Clara is an educated counterpoise to Kennie."
"Ten Minutes to Twelve." Autograph manuscript in ink with autograph revisions in ink. 1 notebook, 28 pages on 28 leaves, 634 x 7% inches. See "More Friend than Lodger" above.
"A Sad Fall." Autograph manuscript in ink with autograph revisions in ink. 1 notebook, 24 pages on 24 leaves, 6 1/4 x 7 3/4 inches. Concluding paragraph of published story has been much revised.
Hemlock and After
(London: Seeker & Warburg; New York: Viking Press, 1952) .
Autograph manuscript in pencil and ink with autograph revisions in pencil and ink and some canceled passages. 7 notebooks, 318 pages of 6 3/4 x 8 inches and 125 pages, 8 x 12 3/4 inches on 379 leaves. One notebook contains preliminary notes for the novel and early versions of Chapter I. Another contains one page of notes of For Whom the Cloche Tolls (with Philippe Jullian; Methuen, 1953) entitled "Maisie Wore a Cloche: A Scrapbook of the Twenties." This same notebook also contains a partly completed manuscript of an unpublished story, "Christmas Brings Memories." Wilson wrote this first novel in 1951 during a four-week leave from his position as Deputy Superintendent of the Reading Room of the British Museum. He decided that he would have to leave this position if he were to get the unbroken periods of time necessary for him to write novels. Wilson's comments on his characters are interesting and illuminating:
Ella & [Bernard] in sort of way are fulfilled
and partly life-loving, but they have given Eliz. & James
emptiness, power longings & death wish.
[Mrs. Curry, Ron, Eric, Matthew (or Bill) Pendle-bury]. Each here is possessed with some personal power problem.
Ella concerned only with reality & the rocks.
Bernard with possible] ends of his views & actions seen graphically & rather melod[dramatically] & brought to these by the noises, smells, shapes, etc. -- it is these that he fixes on as imp[ortance] of death.
Anglo-Saxon Attitudes, a Novel
(London: Seeker & Warburg; New York: Viking Press, 1956) .
Autograph manuscript in ink with extensive auto-graph revisions in ink. 16 notebooks, 520 pages on 566 leaves, 6 1/4 x 7 7/8 and 7 x 9 inches. One notebook contains a preliminary version of Chapter 1; 4 note-books contain extensive preliminary notes. One note-book contains an extensive outline of one thematic element in the book:
Emphasize the truth aspect --
Rose L. [Lorimer] & the hidden truth.
Gerald & the truth about Melpham & the family.
All the historians & the truth.
Prof. Clun & the factual truth.
John getting at the truth.
Robin & a truth o f behavior.
Donald & a truth of an idea.
Thingy -- Truth, seriously.
Elvira & the truth in love.
Frank & the basic trust in people.
Vin -- the jungle truth.
Mr. Cresset -- "It's right they should know the facts."
The novel was originally entitled Perfect and Pluperfect. The characters' names also change with their evolution; the Stokesay family was originally named Thwaites, Inge was Rosamund or Trudie, or Trudel, and Dollie was Dorothy. The protagonist, Gerald Middleton, was originally Gerald Layton or Gerald Medlicott; the name Medlicott is used throughout the manuscripts and appears as Middleton only in the published novel. The main plot revolves around the figure of a fertility god found in an early Christian bishop's tomb and Gerald Middleton's final decision to expose the discovery of this figure as a fraud, no matter what the consequences: "The whole novel can only happen because G. [Gerald] has made up his mind to reveal but sees that time is now no consideration & his family failure tells him he must not act without consideration & unwinding of every thread. He hopes that the solution of Melpham may lead to the solution of his personal life but this of course it can only do very partially and for the rest it leaves him stronger internally though weaker externally to cope with or accept what remains." Concerning the relationships of Gerald with his chil-dren, Wilson notes: "G.[Gerald] has given Rosamund [i.e., Inge] the children as conscience money -- he finds them with a false past or no past. If he has to reconstruct the truth here he will produce chaos -- -thus his own life since it is temporary has exactly the opposite answer to the Melpham history." As to the exposure of the Melpham fraud, Wilson gives these reasons for Gerald's reluctance to do so:
1. He is not sure.
2. He has become temperamentally degage.
3. In a way to give up T. [Theo Roberts] & J. [Jasper Stringwell-Anderson] means surrender [,] to giving up history, etc.
4. To prick T.&r J.'s new bubble will be a triumph for Clun.
5. It will mean the end of Rose.
6. The old reasons about Professor S. [Stokesay) still hold strong. Set against this is only Historical-Scholarly Truth. Jasper & Theo's future (& deep down his own will to survive as a scholar).
Concerning Gerald's part in the discovery of the Melpham Tablet (later a fertility emblem), Wilson writes, "The Tablet, always a source of uneasiness, had grown to be a satisfactory crucifix for his solitude." Anglo-Saxon Attitudes established Wilson as an important contemporary novelist.
The Middle Age of Mrs. Eliot, a
(London: Seeker & Warburg; New York: Viking Press, 1958) .
Autograph manuscript in pencil and ink with ex-tensive autograph revisions in pencil and ink. 13 notebooks, 640 pages on 710 leaves, various sizes of paper. 2 notebooks contain preliminary notes. The early title for the novel was Mid Term Report; Bed-ding Out Time, Pity and Survival, and A Bed of Roots appear to have been other possible titles. In the notes Wilson toyed with the possibilities of the Eliots having three children and with Meg Eliot having a lover after Bill's death. Wilson discarded these possibilities and chose for his main focus Meg's situation as a childless widow faced with finding, by her own efforts, a new center for her life. Wilson also discarded suicide for Bill in favor of an accidental death. As for the three close woman friends to whom Meg turns at first, Wilson describes their function as follows: "Perhaps we may see later when the 3 friends fail that she had hung on to them as a life-line that gave her something beside Bill." As it turns out, the life-line fails Meg; but the fault is perhaps Meg's: "Each of the three lame ducks is built up by M. [Meg] in exactly the same way that she reaps later with them -- partly in reaction, partly because she has made that relationship." The friends too are partly "Job's Comforters." Concerning Meg's loss of husband, money, and position and her even-tual recovery, Wilson describes her change in these terms: "To some extent when M. loses her position she recovers gradually her self-confidence because she no longer feels the guilt or the doubts of her position. She has to lose everything before she can recover -- but not as David wishes [,] accept nothing as her lot. (Is there perhaps an element of cruelty in his preaching this to her?)" Much of Meg Eliot's problem is psychological and personal: "Her whole generous response to life was based upon a half-instinctive ethic and at the centre of that ethic lay the supreme importance of a lovingly engaged heart. It was difficult to see what would now engage it." The relationships of Meg Eliot to her brother David are important in the novel and also figure in Wilson's notes to it:
We must not lose sight o f the long dying days of Meg &
David's actions -- not active enough -- perhaps this is right -- only a certain crisis and then somehow despite all the high intention and high intelligence puts his foot wrong (subtly here).
David figures somewhat less in the notes than we might expect and seems to have developed into a more important character in writing the novel than Wilson had first intended.
The Old Men at the Zoo
(London: Seeker & Warburg; New York: Viking Press, 1961).
Autograph manuscript in ink with extensive autograph revisions in ink. 12 notebooks, manuscript is 603 pages on 636 leaves with additional pages; 2 contain early versions of parts I and II. Wilson de-scribes this set of notebooks as containing "many long passages and some characters omitted in the final printing." He shows an increasing tendency to do extensive preparation for the writing of his novels. The novel takes place in 1970-71, and the political events of these years are an important part of the narrative. A typescript entitled The War of 1971 is included in the preliminary notes, with Wilson's designation as a "suggested version for political events in The Old Men at the Zoo by Michael Howard, military historian, London University." This typescript, as such, is not used in the novel. The setting of the novel is the London Zoo. Some of the central characters are the Zoo's successive chiefs, each of whom in turn tries to impose on his col-leagues and the public his own schemes for the de-velopment of the Zoo. Wilson has many comments on these chiefs, "the old men" of the title:
Leacoek: His heart is there but it has become hidden by
Falcon: His heart is lost in histrionics.
Beard: His heart has been destroyed by misfortune and unhappiness.
Englander: Heart there but surrounded by fatty pudding.
Filson's death shows their future battles with age & closing hearts.
Leacock with a ready made 'philosophy.'
Falcon with self-sacrifice.
Beard with 'research for humanity.'
Englander with protective cynicism.
A clipping from the London Times of May 3, 1960, describes improvements to be made in the Regent's Park Zoological Gardens, improvements suggesting the grandiose plans which in the novel the various chiefs elaborate for the Zoo. A letter from Gwynne Vevers, a member of the Zoological Society of London, contains notes on physiological ailments of the giraffe and elephant. Wilson used this information for the first principal incident in this book, in which a sick giraffe tramples to death Filson, a young and inexperienced keeper of mammals. Simon Carter, originally named Quentin Best, is the protagonist and ad-ministrator for the successive chiefs of the Zoo, and tries to investigate the accident. He experiences only frustration, however, when the old men reveal a greater concern for their own ambitions than for dis-covering the truth about this tragic occurrence. Wilson uses Simon Carter as a first-person narrator in the final version, perhaps to implicate him more fully in the destinies of the Zoo (in the unrevised manuscript, Wilson had used the third-person convention, with Simon serving as a reflecting consciousness upon the characters and incidents of the story.) In the first version Simon Carter has a mistress, Marion Dunbar, from the typists' pool at the office when Martha, his wife, goes on her trip to America. Wilson sensed that this episode was irrelevant and distracted attention from the problems he wanted to explore: Carter's relationships with the old men at the Zoo, and his development of a greater awareness of the tendencies in his own nature. Wilson's formulation of the situation he analyzed in the novel is illuminating: "A young keeper in the giraffe house is savaged and dies. This seems to Simon Carter to be a herald of a violent time to come. The crisis also shows all of his senior colleagues except one (Matthew who exists in himself and the moment) to be so set in their chosen shapes of the future that they appear to him to be `old men' before their time. Yet it is also apparent that because he has no sense of any future, his own empirical good sense will not prevail. Uncommitted to any belief in himself, he has substituted `understanding' and `getting on with people' for any meaningful course of life. At any critical moment it seems likely this will negative him. He has sought relief from this emptied, people-encircled life with the inevitable guilts it brings in Martha, his very young, rich, innocently good wife. Yet as in any relationship which throws so much, unasked, on another, he is forever eroding it." Wilson wished to convey, in fact, this philosophical truth through his book: "It would seem that what the book is say-ing is that insight (self & into others) is incompatible with activity and yet that activity's failures are too often the result of lack of insight."
(London: Seeker & Warburg, 1964; New York: Viking Press, 1965) .
Autograph manuscript in ink with extensive auto-graph revisions in ink. 9 notebooks, 451 pages on 638 leaves plus additional pages of notes, 8 x 10 inches. 1 notebook contains preliminary notes and various documents. 1 partial typescript of 53 pages was returned to Wilson from his American publishers with suggested alterations to Americanisms; 1 complete typescript of 424 pages contains extensive auto-graph revisions. The manuscript divisions into chap-ters and the chapter headings are revised for the final published version. Considerable variation exists between the manuscript and the text, especially in the opening chapter, and there are numerous rejected versions of portions of the text and a number of canceled passages. By means of a prologue laid in the past ("The Hot Summer of 1911") which re-creates a fateful day in Sylvia Calvert's childhood, Wilson emphasizes his chief theme of the need for each individual to establish an identity for himself. The little girl remains nameless in the prologue, and thus Wilson foreshadows Sylvia's adult symbolic namelessness.
The manuscript and related materials reveal Wilson's careful preparatory research for the novel. The preliminary notes contain a listing of the temper-atures during July and August from 1909 through 1913. Wilson chose 1911 as the date for the prologue because the temperatures were unusually hot. A letter to Wilson describes ladies' fashions in 1910 and 1911; Wilson incorporates this information into the Prologue. Arthur, Sylvia's husband, is a veteran of World War I and receives a small pension in compensation for the permanent damage to his lungs caused by poison gas. The notes also contain infor-mation about the effects of various gases upon the lungs. A letter from D. Vincent, an official of the Ministry of Pensions and National Insurance Information Division, contains information about veterans' pensions for service in World War I. Wilson verified other details for his book. There are notes and letters concerning New Towns, the effects of high blood pressure, technical colleges, and electrical engineering programs.
Wilson's statements of his purposes in the novel are interesting and revealing:
Make use ironically & then seriously with phrase `its never
too late to learn.' Her realization of her falsification of her own
childhood should make her more understanding of Arthur's lies.
At the end when she comes back to family -- she does `right thing' but has, of course, no reward. Those who might have illumined go, while only shining momentarily on her.
Above all 1 want to find a way of suggesting the absurd and the compassionate at the same time in Sylvia's story. And (with Harold, perhaps) the sudden, incidental and completely horrible in the deadly respectable world.
She cannot "be" because in an obscure (to her) way she is destroyed by fighting for her existence against human claims; only in relation to the earlier seaside (and in a family the Goodchilds [Egans] where she can feel useful and be left alone) can she feel moments of `existence.' Even armed with these she can only be and do back in the family at odd moments, but at least she can. This is `grace' and she can do the more when by now being she prevents others (Harold or the grandchildren) from `doing' meaning-lessly, or losing their being in doing the gc [Goodchilds?] yet this she can only do limitedly because everyone must make this being for themselves. It goes back to the end of "Hemlock."
No Laughing Matter
(London: Secker & Warburg; New York: Viking Press, 1967) .
Autograph manuscript in ink with extensive auto-graph revisions in ink. 19 notebooks, 796 pages on 859 leaves plus additional pages of notes, 7 x 9, 8 x 10, and 8 1/4 x 12 1/2 inches. 4 notebooks contain preliminary notes, various book reviews, and an un-published story. The preliminary notes include a letter to Wilson from Douglas Matthews, Assistant Secretary and Deputy Librarian of the London Library, concerning pre-World War I performances in London of the Buffalo Bill Wild West Show and S. F. Cody's Wild West Show. Wilson used this information in Book One, "Before the War." The preliminary thinking about and planning for the novel was prodigious as the notes indicate. Some significant samplings from these notes, selected at random, follow:
Time progressive (?) [sic] because the basic theme
is mode and manners of the effects of defensive humour upon varying
characters within a limited group -- for this purpose time and place
swell out (any-where?) -- to Marcus & Margaret at last in
Tangiers, but to Gladys at last as she plods along to the post almost
back where they started from.
What is essential is to show how not humour alone but its hardening into `family comic legend' is the trap in which severally and in various postures they are caught.
All need love, roots of a kind and passion and for these fun is no substitute.
Each increasingly carries his or her setting and can only half tentatively break out of it to make some real contact. Here is where my experiment in form lies.
There is, if a certain conscious whimsy about this, a gaiety which, given the appropriate circumstances, could be a joy of life. Yet it has also clearly bitter, controlledly unimaginative and regressive tendencies.
The tragedy seems to be inevitable -- where else could they go for protection -- but of course they need not have regressed in situations of panic -- their regres-sions are conditioned by the very ancestry they seek to reject. We must be careful not to invite compari-sons with V. W. [Virginia Woolf] for my purpose is other.
Light. 3 are near destroyed by the need for reality which nearly turns to `realism' (by product of the Countess) -- Marcus, Margaret & Quentin.
Sweetness. While 3 are near destroyed by the need for some sweetness which nearly turns to self-consoling delusion (by product of Billy Pop) -- Rupert, Gladys & Susan.
Quentin suffers at one point great injustice which like Gladys and her imprisonment he takes well, but it is waste of his talents over paltry media etc. (the whole journalism thing) that kills him.
Goat and Compasses
Autograph manuscript in ink with autograph re-visions in ink. 3 notebooks, 51 pages on 51 leaves plus additional pages of notes, 7 x 9 inches. 1 type-script, 40 pages on 40 leaves, 8 1/2 x 11 inches. Wilson did not complete this novel, writing only a prologue and a first chapter. The prologue, under the title "My Husband is Right," was published in Texas Quarterly, IV (Autumn, 1961) .
Emile Zola: An Introductory Study of His
(London: Seeker & Warburg, 1952, second ed., 1964; New York: Morrow, 1952) .
Autograph manuscript in pencil and ink. 11 note-books, 207 pages on 207 leaves plus additional pages of notes and reviews, paper of various sizes. In these notebooks appear manuscripts and notes for Wilson's reviews of books by or about Zola, and notes for these reviews and for a lecture on Zola. There are also manuscripts for some of Wilson's various reviews on other writers.
The Wild Garden or Speaking of Writing
(London: Seeker & Warburg; Berkeley: University of California Press, 1963) .
Autograph manuscript in ink with autograph re-visions in ink. 3 notebooks, 147 pages on 147 leaves, 6 7/8 x 7 7/8 and 7 7/8 x 10 inches, with notes for the Ewing Lectures, given at the University of California at Los Angeles in 1960. It was from these lectures that the book developed. The manuscript has been much revised for the published book.
The Mulberry Bush, a Play in Three Acts
(London: Seeker & Warburg, 1956) .
Autograph manuscript in ink with autograph re-visions in ink. 8 notebooks, 117 pages on 117 leaves, 6 1/4 x 7 7/8 inches. 3 notebooks contain preliminary notes and early versions of the play. In the early versions the title is Sheep and Goats and the names of some of the principals are different: Chard instead of Padley, Rosemary instead of Wendy. This work ex-plores one of the dominant themes of the short stories, the inadequacy of Edwardian Fabian liberals (the Padleys) to understand the people and the society of post-1945 Britain. The play was produced by the Bristol Old Vic Company on 27 September 1955; and after extensive authorial revisions, it was produced on 2 April 1956 at the Royal Court Theatre in London with moderate success, running until 19 May. The play was also televised in England in 1957.
Tempo: The Impact of Television on the
(London: Studio Vista, 1964) .
Autograph manuscript in ink with autograph revisions in ink. I notebook, 40 pages on 40 leaves, 8 x 10 inches. This book is a survey of the Tempo television programmes presented by the BBC. In ad-dition to describing the highlights of the programme, Wilson examines the contributions television has made to public enjoyment of music, painting, poetry, drama, ballet and architecture and the challenges which these art forms present to television producers and directors.
General and Miscellaneous
Autograph manuscripts in ink with autograph revisions in ink. 12 notebooks, 287 pages on 413 leaves with additional pages of notes, paper of various sizes. This set of notebooks contains a number of book reviews and critical articles, most of which have been published in periodicals (but not collected) such as Encounter, Listener, London Magazine, New Statesman, Observer, and Spectator. Included also is the manuscript of a lecture on the novel, "Breadth and Depth in the Novel," published in part as "Diversity and Depth," Times Literary Supplement (15 August 1958) Supplement, p. viii. This group of manuscripts includes some creative work or notes for creative works. There are alterations and revisions for The Old Men at the Zoo, the earliest notes which eventually resulted in No Laughing Matter, two unpublished stories ("No Future for Our Young" and "Live and Let Die"), and two television scripts: a version of "Totentanz" (see The Wrong Set above) which was never used, and "The Invasion."