The Works of Graham Greene, Volume 2: A Guide to the Graham Greene Archives 9781472528193, 9781474261777, 9781472528612

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The Works of Graham Greene, Volume 2 A Guide to the Graham Greene Archives



Also available from Bloomsbury The Works of Graham Greene: A Reader’s Bibliography and Guide Jon Wise and Mike Hill Graham Greene: Fictions, Faith and Authorship Michael G. Brennan Dangerous Edges of Graham Greene: Journeys with Saints and Sinners Edited by Dermot Gilvary and Darren J. N. Middleton

The Works of Graham Greene, Volume 2 A Guide to the Graham Greene Archives

Jon Wise and Mike Hill

Bloomsbury Academic An imprint of Bloomsbury Publishing Plc

L ON DON • N E W DE L H I • N E W Y OR K • SY DN EY

Bloomsbury Academic An imprint of Bloomsbury Publishing Plc

50 Bedford Square London WC1B 3DP UK

1385 Broadway New York NY 10018 USA

www.bloomsbury.com BLOOMSBURY and the Diana logo are trademarks of Bloomsbury Publishing Plc First published 2015 © Jon Wise and Mike Hill, 2015 Jon Wise and Mike Hill have asserted their right under the Copyright, Designs and Patents Act, 1988, to be identified as Authors of this work. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publishers. No responsibility for loss caused to any individual or organization acting on or refraining from action as a result of the material in this publication can be accepted by Bloomsbury or the author. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. ISBN: HB: 978-1-4725-2819-3      ePDF: 978-1-4725-2861-2                 ePub: 978-1-4725-2778-3 Library of Congress Cataloging-in-Publication Data A catalog record for this book is available from the Library of Congress.

Typeset by Newgen Knowledge Works (P) Ltd., Chennai, India

To Jean and Lucy, Patrick, Maeve and Ben, with love

‘What a life a bibliographer’s must be!’ Graham Greene, 1964

Contents

Acknowledgements

viii

Introduction

1

List of the Graham Greene Archives

8

Part 1  Context and Analysis Archives in the United Kingdom

13

Archives in Ireland

60

Archives in the United States of America

61

Archives in Canada

249

Part 2  Listings Archives in the United Kingdom

255

Archives in Ireland

270

Archives in the United States of America

271

Archives in Canada

336

Index

337

Acknowledgements

We owe an immense debt of gratitude to the Graham Greene Birthplace Trust and in particular to one of its patrons, Caroline Bourget, Graham’s daughter. The Trust helped to sponsor three of our visits to the United States through its Research Award Scheme which enabled us to view archives at Austin Texas, Boston and Washington DC. It is no exaggeration to state that without the encouragement and faith shown by the Trustees we would not have been able to complete this book. We were granted Andrew W. Mellon Foundation Research Fellowships from the Harry Ransom Center at the University of Texas which assisted us in making a second visit to Austin. We are grateful to the University for its support and to François Gallix and Neil Sinyard for their help in our quest for funding. We also wish to thank most sincerely Francis Greene, Graham Greene’s Literary Executor, for granting us permission to quote from his father’s work. The approval of the Literary Estate is of particular importance and it is impossible to underestimate the richness that has been added to the text of this book by being able to make use of the writer’s own words. We acknowledge too, in this matter, the prompt and friendly assistance provided by Marigold Atkey, Literary Agent at David Higham Associates. Our thanks are also extended to all the archivists who helped us at each of the special collections departments which we visited either in person or ‘electronically’. However, we wish to single out certain individuals or groups of individuals for special mention. These include, in no particular order, John Buchtel and Scott Taylor at the Joseph M. Lauinger Library at Georgetown University; Shelley Barber and her team at the John J. Burns Library, Boston College; Patrice Fox and assistants at the Harry Ransom Center, University of Texas at Austin; Sally Harrower at the National Library of Scotland; Jonny Davies at the British Film Institute; Frances McCormack of the National University of Ireland, Galway; the team at the Special Collections Department at the University of Leeds and Louise North at the BBC Written Archives Centre at Reading. We are indebted as well to Anna Lechner of Hanser Literaturverlage for undertaking further research for us into the history of the German Collected Edition of Greene’s work. Our visits to Washington DC in November 2012 and to Boston in March 2013 were enormously enhanced by the superb hospitality and friendship we were afforded by our hosts. To this end we are deeply grateful to Donna and John Osthaus, both stalwarts of the annual Graham Greene Festival in Berkhamsted, for giving us a genuine Virginian welcome to their home in Springfield. Our stay in Boston, during particularly bitter and snowy weather, was ‘warmed’ by Linda Rinearson and Jay Flynn who made every effort to make us comfortable and to show us the sights of their famous old city.

Acknowledgements

Richard Greene of the University of Toronto, whose forthcoming single-volume biography of Graham Greene is eagerly awaited, has been a tremendous source of inspiration throughout; encouraging and ever generous with his advice and with his time. We thank him. Finally, we are indebted to our partners Lindsay and Jean for their infinite patience while we have been immersed in this subject.

ix



Introduction In August 1960 Graham Greene responded briefly to a questionnaire which had been circulated among contemporary British writers by the poet Philip Larkin in his capacity as librarian at the University of Hull. Larkin had wanted to canvass opinions regarding the sale or donation of authors’ manuscripts during their lifetimes. Less than three years later, Greene set in train a series of events which were to lead to the sale of some of his own manuscripts, a matter referred to below. Larkin addressed the issue of what he termed ‘The Contemporary Literary Manuscript’ in March 1979 in a talk he gave to his peers at the Conference of National and University Libraries. The central thrust of Larkin’s paper was the need to prevent British writers selling their manuscripts abroad, particularly to financially well-endowed universities in the United States. At the same time he succinctly defined what he meant by the term ‘literary manuscript’. He argued that it included not only the successive versions of the text produced by the writer prior to publication but anything which more generally contributed to what Larkin called the ‘archive’ of the writer’s life and his work. Graham Greene was a child of the age of the hand-written word  – which is now swiftly passing. Therefore, it

is both a blessing and a burden for the researcher that so much of this prolific writer’s archive actually survives in the form of diaries and journals, notes and other fragments, vast quantities of correspondence, unpublished, abandoned or unfinished novels, plays, poetry, short stories, essays and, of course, annotated holograph and typescript manuscripts of published works. One suspects that in this digital age and whatever lies beyond, never again will there be such a rich and diverse vein of material with which to work.

The aim of the book In our first book about the writer, The Works of Graham Greene: A Reader’s Bibliography and Guide (London and New York, Continuum, 2012), we described and contextualized his published works. This book aims to provide, for the first time, a comprehensive guide to nearly sixty repositories in Canada, Ireland, the United Kingdom and the United States which hold archival material relating to Greene of the kind described above. All the repositories are in the public domain and are accessible although some require authorization from the Graham Greene Literary Estate or from a credited body such as a university department. 1

Using this book

A proportion of the material will be familiar to readers with prior knowledge particularly of Norman Sherry’s threevolume biography The Life of Graham Greene, William Cash’s The Third Woman and Richard Greene’s Graham Greene: A Life in Letters. However, the majority of the archives have not been documented and provide fresh and frequently startling insights into this renowned twentiethcentury writer and his work. We do not claim that this is a complete record of everything that Greene wrote. His correspondence particularly was vast. In the future it is likely that small yet significant caches of letters will be discovered belonging to public figures and other individuals known to this author. By the same token, at the time of writing, we are aware of several hitherto private collections which have been very recently acquired by institutions and are now, or shortly will be, available for public inspection. These include the Josephine Reid Papers and Books at Balliol College, Oxford, Vivien Leigh’s and Peter Brook’s archives at the Victoria and Albert Museum, the Alec Guinness Archive at the British Library and the Gabriel García Márquez Archive at the University of Texas. We have examined all the repositories listed in this book and have read the vast majority of the contents which contain Greene’s writings. However, there are exceptions. We sampled seventy of the nearly 1,900 correspondence files in the Boston College archive. Time and space in this book precluded covering everything in this very large collection. We would point out that the Boston College Listing does record every single correspondent and, as with every other entry in Part 2, the date2

span of the correspondence. We were also obliged to sample the many annotations to be found in Greene’s personal collection of 3,000 books at Boston College and the copious Laurence Pollinger General Files and Copyright Assignment Files at the University of Texas for the same reasons. Materials currently in private collections are beyond the remit of this book. This applies in the main to correspondence but also, we believe, to certain original manuscripts. The whereabouts of the first holograph copies of Brighton Rock, The Heart of the Matter, The End of the Affair and Loser Takes All for example, all of which would provide insights into the creation of these important and famous works written at crucial phases in Greene’s life, are unknown. However, it is recorded that the heavily revised, autograph manuscript of The Quiet American, a novel which took Greene over three years to finish and which he nearly abandoned, was sold to a private buyer in 1995.

Using this book The details of the individual repositories listed after this introduction are arranged first by country and second in alphabetical order. The rest of the book is divided into Part 1: Context and Analysis and Part 2: Listings followed by an Index. Part  1 analyses the Greene-related material in each repository and places it within the context of the writer’s other work and his life. A small number of repositories are only mentioned in Part  2: Listings, because of the very limited scope of the material.

Using this book

Part  2 provides a complete inventory of each individual archive. The vast majority of institutions have their own organizational arrangements together with a unique coding system. Some provide a ‘Finding Aid’ which may be accessed online or by request. Unless otherwise noted, and then only in the interests of clarity and cohesion, we have sequenced the material in the Context and Analysis section in the order dictated by the institution’s coding system. The Listings, more straightforwardly, invariably adhere to the coding system. It is strongly recommended that readers and researchers use the Index as their starting point when using this book – unless simply browsing. It is unsurprising in an archive as large and complex as this one that there will be important information on the same subject to be found in several different places. The comprehensive crossreferencing facility within the Index is an essential research tool. The Index gives a complete listing of the published and unpublished works in manuscript form in the archives we have covered. This book is not a biography nor is it a literary criticism of this writer’s work. Part 1 mostly describes the most important features of a particular collection; any evaluation given is in terms of what it adds to our prior knowledge of Greene and his writings. Although a large number of the writer’s published works are referred to in the text there is not space to provide a full bibliography. Therefore, researchers are recommended to use this book in conjunction with its companion volume on his published works mentioned above. We have deliberately employed a limited vocabulary ‘palette’ in order to

describe the documents we have viewed and recorded. Greene wrote everything by hand although later in life he dictated his letters. Therefore the words ‘holograph’, ‘autograph’ or ‘manuscript’ are used to describe these handwritten documents. The terms ‘Typescript’, ‘Xerox’ and ‘photocopy’ are self-evident. Where the writer made corrections to a text, ‘major’, ‘heavy’ or ‘extensive’ indicate that there have been large numbers of alterations made on successive pages which might include wholesale changes to entire paragraphs, the reordering of text and substantial additions or deletions. ‘Minor’ or ‘limited’ changes indicate that occasional alterations have been made on some pages mainly in pursuit of greater precision. We also differentiate, where appropriate, between stylistic alterations, typographical errors and technicalities exclusively directed at printers. We have provided a very brief biographical comment for most of Greene’s correspondents. If there are letters to the same correspondent in more than one archive we have tried to avoid repetition and do not refer to a particular letter more than once. At an early stage of her marriage to Graham, Vivienne Greene changed the spelling of her name to the familiar ‘Vivien’. Therefore we have used the spelling appropriate to the document under discussion without recourse to further explanation. Caroline Bourget, née Greene, was called Lucy during the early part of her life. In this instance we have included both forenames for reasons of clarity. In the course of our research it was impossible to avoid reading, particularly in the publishers’ archives, a great deal 3

Interpreting the text

of third-party correspondence together with contractual information, internal business memos etc. Although of much interest and relevance, apart from giving brief summaries we have avoided making direct references to this material.

Interpreting the text A note about the personnel who supported and acted on behalf of the writer in his professional life is worth making in order to avoid unnecessary repetition in the body of the text. These individuals included Greene’s secretaries, his literary agents and his various publishers. Some names will be well known, others may be new even to knowledgeable readers. Greene could only afford to employ a secretary after the Second World War and Doris R. Young was appointed around 1950 and worked in that capacity until late 1958 when she was replaced by Josephine Reid. Reid was ideally suited to a role which required her to have an intimate knowledge of her employer’s work as well as his personal life and relationships. Evidently, discretion was second nature to her; she had previously worked for the Foreign Office with possibly a spell too at the Special Operations Executive. Reid relinquished her secretarial duties in 1975 but continued to type Greene’s manuscripts for the rest of his life. Day-today secretarial work was then undertaken by Graham’s sister Elisabeth Dennys until she suffered a stroke in 1988. After that, his niece Amanda Saunders became his secretary. It is clear from the archives that the writer relied a great deal on his 4

secretaries and had complete trust in their loyalty and judgement. Greene’s first UK literary agent was Augustus (A.D.) Peters. In 1935 he moved his affairs to a new partnership consisting of David Higham, Nancy Pearn and Laurence Pollinger who had set up their own firm having previously worked for Curtis Brown. Pearn died in 1950 and in 1958 Higham and Pollinger parted company. Greene opted to remain with Pollinger until Laurence’s death in 1975; thereafter the family firm was run by son Gerald. In 1990, following some misgivings concerning the management of affairs at the company, Greene switched to David Higham Associates. When he started to write plays in the early 1950s he employed a separate theatre agent, Dr Jan Van Loewen who, in the early days of their association particularly, also provided objective criticism of manuscript material for the nascent dramatist. Graham Greene clearly thrived on forming personal friendships alongside his professional dealings. His literary agents in the United States for most of his career were Mary Pritchett and Monica McCall. Greene’s lasting affection for Pritchett meant that he continued to pay her a retainer after she had retired, as Richard Greene notes. His dealings with McCall, on the other hand, appear to have lacked the same warmth; his patience was frequently tested especially when she appeared to make decisions without prior consultation. By contrast, again, his relationship with his French agent Marie Biche (Schebeko) was both professional and close. Among his publishers, Alexander (A.S.) Frere exerted a profound and lasting influence on the writer from his

Origins of the Greene Archives

earliest days at Heinemann until October 1962 when, amidst much acrimony, Greene joined the Bodley Head which was then under the control of Max Reinhardt. The relevant papers at the British Library illustrate the bond that subsequently developed between these two men. Reinhardt continued to publish his friend’s works under his own imprint until shortly after Greene’s death. He was also on very friendly terms with some of his publishers abroad such as Ragnar Svanström of the Swedish firm P. A. Norstedt & Soner and Ben Huebsch and later Harold Guinzberg of the New Yorkbased Viking Press. He remained loyal too over a long period of time to his French and German publishers Robert Laffont and Paul Zsolnay Verlag respectively. In his two autobiographies Greene gives the reader an indication of his writing routines: the precise daily word count after a morning’s work, the editing tasks usually undertaken the same evening. He commenced a thorough revision of his major writings from the early 1960s onwards. The significance of this undertaking has not been properly recognized hitherto, surprisingly as it has a direct bearing on our understanding of the writer and the way he reassessed and sometimes changed his own work over time. The scope of this revision varied from major alterations amounting to the reinstatement of entire chapters in the case of The Heart of the Matter to quite minor textual changes made to some of his early novels. Thus the introductions he wrote for new editions give us a most valuable insight into the creative process as well as an acute and often harsh appraisal by this most unsentimental of writers.

The first set of introductions was written specifically for what is termed ‘The German Collected Edition’. Six volumes, comprising three or four works each, were published by Paul Zsolnay Verlag between 1962 and 1965. Typescript copies, in English, of the introductions for each of his novels up to and including A Burnt-Out Case are to be found in several of the archives. Greene reused edited versions of these a decade later in preparing what we refer to as the ‘Heinemann / Bodley Head Collected Edition’ or ‘UK Collected Edition’. Parts of these latter writings were recycled yet again to form the bulk of the text of his second volume of autobiography, Ways of Escape.

Origins of the Greene Archives Three US institutions, Boston College, Georgetown University and the University of Texas, retain the most extensive and important Greene archives in the world. The writer sold the first batch of original manuscripts of his novels in 1964, as noted earlier. The purchaser was the Humanities Research Center (HRC) at the University of Texas. The sale was brokered through Lew Feldman’s House of El Dieff in New York and set the pattern for the next fifteen years during which a large number of other manuscripts of the kind were sold privately to the HRC via Sotheby’s Auction House in London and El Dieff. Following a dispute with the HRC over receipt of a late payment which brought a halt to dealings, Greene favoured Georgetown 5

Origins of the Greene Archives

whose librarian, Joseph Jeffs, also became a good friend of the author during the last decade of his life. The university not only acquired a number of Greene’s later manuscripts and working papers but the writer also recommended both friends and relations to sell their collections to Georgetown. These included among several others, Hugh and James Greene, Fr. Leopoldo Durán, Anita Björk and Greene’s officially appointed bibliographer Alan Redway. Arguably of greater importance, Greene was instrumental in the university purchasing his former lover Catherine Walston’s collection of letters, manuscripts and books. Boston College, with its tradition for acquiring the archives of British Catholic authors of the nineteenth and twentieth centuries, purchased the remaining sizeable collection of Greene material in 1995. This collection is very broad in scope and includes not only more than 60,000 papers belonging to Greene, his personal library of books but also a wealth of personal memorabilia. Although there are some exceptions, the other listed collections consist principally of correspondence belonging to archives of those people who knew Greene either in a personal or a professional capacity. The Fay and Geoffrey Elliott Collection at the University of Leeds is one of only two UK institutions with a discrete collection of the writer’s work which includes original manuscripts, the other being a section of the British Library’s holdings which has been loaned. It is unsurprising that a writer whose professional career lasted over sixty years should have left such a vast literary legacy. It is our good fortune that this highly self6

critical and apparently secretive man should allow such a wealth of unpublished writing of various kinds and varying quality to remain and not be destroyed after his death. Nevertheless, apart from the truths imparted in his published work, by which Greene asked that he should be judged, the man himself remains an enigma. His thoughts even on the apparently uncontentious subject of bibliography were contradictory. Answering a technical query in 1950 on binding variants for his books, Greene wrote to Alan Redway, ‘I am not in the least bored by details of this kind as bibliography has always had a certain fascination for me’. By contrast in 1990 he strongly advised Christopher Hawtree against writing a bibliography of Evelyn Waugh, ‘I can’t imagine anything which would become more boring and laborious and frightening . . .’. Thus it is perhaps erroneous to seek a simple definition of his character. In 1986 after Greene had been awarded the highly exclusive Order of Merit, he told his friend Gillian Sutro that he felt uneasy at the thought of being branded a distinguished man of letters. He quoted the closing lines of Matthew Arnold’s poem ‘Growing Old’ which he thought might make him a suitable epitaph, It is – last stage of all – When we are frozen up within, and quite The phantom of ourselves, To hear the world applaud the hollow ghost Which blamed the living man. It could be argued that the conferment of the Order of Merit implied that a life’s ambition had been achieved.

Origins of the Greene Archives

Yet so much of what Greene wrote demonstrates a never-ending quest for a rationale to underpin humankind’s existence and it goes some way towards explaining his many-faceted personality and his sometimes bewilderingly contradictory statements. It was as if the need to repeat the forward motion of

the opening phrase of The Man Within never left him: ‘He came over the top of the down as the last light failed . . .’ Jon Wise and Mike Hill February 2015

7

List of the Graham Greene Archives This is a full list of the archives covered in this book, in the order in which they are considered. Fuller details of these archives can be found in Part 2, Listings.

UNITED KINGDOM Aberystwyth, Dyfed: NATIONAL LIBRARY OF WALES Brighton, East Sussex: UNIVERSITY OF SUSSEX LIBRARY Bristol: UNIVERSITY OF BRISTOL LIBRARY Cambridge, Cambridge­shire: CAMBRIDGE UNIVERSITY: CAMBRIDGE UNIVERSITY LIBRARY CHURCHILL COLLEGE ARCHIVES CENTRE KING’S COLLEGE ARCHIVE CENTRE MAGDALENE COLLEGE LIBRARY QUEENS’ COLLEGE LIBRARY ST JOHN’S COLLEGE LIBRARY Durham: DURHAM UNIVERSITY LIBRARY Edinburgh: NATIONAL LIBRARY OF SCOTLAND Exeter, Devon: UNIVERSITY OF EXETER LIBRARY Hull, East Yorkshire: HULL HISTORY CENTRE

8

Leeds, West Yorkshire: UNIVERSITY OF LEEDS LIBRARY London: BRITISH FILM INSTITUTE LIBRARY BRITISH LIBRARY KING’S COLLEGE LONDON LIBRARY SENATE HOUSE LIBRARY, UNIVERSITY OF LONDON UNIVERSITY COLLEGE LONDON LIBRARY VICTORIA AND ALBERT MUSEUM: THEATRE ARCHIVES WESTMINSTER DIOCESAN ARCHIVES Manchester: UNIVERSITY OF MANCHESTER LIBRARY Norwich, Norfolk: UNIVERSITY OF EAST ANGLIA LIBRARY Oxford, Oxfordshire: OXFORD UNIVERSITY: BALLIOL COLLEGE LIBRARY BODLEIAN LIBRARY OXFORD UNIVERSITY PRESS ARCHIVE Reading, Berkshire: BBC WRITTEN ARCHIVES CENTRE UNIVERSITY OF READING LIBRARY Rushden, Northamptonshire: RANDOM HOUSE ARCHIVE AND LIBRARY

IRELAND

Windsor, Berkshire: ETON COLLEGE LIBRARY

IRELAND Dublin: TRINITY COLLEGE LIBRARY Galway: NATIONAL UNIVERSITY OF IRELAND LIBRARY

USA Ann Arbor, Michigan: UNIVERSITY OF MICHIGAN LIBRARY Atlanta, Georgia: EMORY UNIVERSITY LIBRARY Austin, Texas: UNIVERSITY OF TEXAS: HARRY RANSOM CENTER Boston, Massachusetts: BOSTON COLLEGE LIBRARY BOSTON UNIVERSITY: HOWARD GOTLIEB ARCHIVAL RESEARCH CENTER Cambridge, Massachusetts: HARVARD UNIVERSITY LIBRARY Carbondale, Illinois: UNIVERSITY OF SOUTHERN ILLINOIS LIBRARY Louisville, Kentucky: UNIVERSITY OF LOUSVILLE LIBRARY Nashville, Tennessee: VANDERBILT UNIVERSITY LIBRARY New Haven, Connecticut: YALE UNIVERSITY LIBRARY

New York: COLUMBIA UNIVERSITY LIBRARY MORGAN LIBRARY AND MUSEUM PUBLIC LIBRARY Princeton, New Jersey: PRINCETON UNIVERSITY LIBRARY Pullman, Washington: WASHINGTON STATE UNIVERSITY LIBRARY San Marino, California: HUNTINGTON LIBRARY St Louis, Missouri: WASHINGTON UNIVERSITY LIBRARY Spokane, Washington: GONZAGA UNIVERSITY LIBRARY Stanford, California: STANFORD UNIVERSITY LIBRARY Tulsa, Oklahoma: UNIVERSITY OF TULSA LIBRARY University Park, Pennsylvania: PENNSYLVANIA STATE UNIVERSITY LIBRARY Washington, DC: GEORGETOWN UNIVERSITY LIBRARY Wheaton, Illinois: WHEATON COLLEGE LIBRARY

CANADA Hamilton, Ontario: McMASTER UNIVERSITY LIBRARY Toronto, Ontario: UNIVERSITY OF TORONTO LIBRARY Victoria, British Columbia: UNIVERSITY OF VICTORIA LIBRARY

9

Part One

Context and Analysis

Archives in the United Kingdom Aberystwyth, Dyfed NATIONAL LIBRARY OF WALES THE EMYR HUMPHREYS COLLECTION

Emyr Humphreys is considered to be one of Wales’ most significant modern writers and nationalists. His archive at the National Library of Wales at Aberystwyth includes nine letters from Greene. Humphreys, as an aspiring poet and novelist, first wrote to Greene at the Spectator in March 1940 asking him to consider recommending some of his poems for review. Greene was acting literary editor at the time. His friendly and polite refusal, ‘but their subject matter is not suitable for the parsonages and commonrooms where the Spectator finds its regular readers’ was followed by an offer to help Humphreys find a publisher once his book was finished. Humphreys wrote again in 1944 by which time Greene had returned from West Africa. He had sent him a novel in manuscript form and Greene, while making encouraging remarks about development of style, suggested that shifts in points of view occurred too frequently and ambitiously. Nevertheless, he promised to ‘warmly recommend’ Humphreys’ work; this undoubtedly helped as Humphreys’

The Little Kingdom was published by Eyre & Spottiswoode in 1946. Greene made some interesting remarks about the Second London Blitz in the same letter, suggesting that the 1944 assault was ‘a small one by 1940 standards’ but admitting that although he had got used to it, ‘. . . it was disquieting at first’. Perhaps aware of Humphreys’ position as a conscientious objector, Greene remarked, ‘But I think one feels better for it – the sense of guilt is lessened. It is a lot better to be the destroyed rather than the destroyer.’ Humphreys could not live on his earnings as a writer and needed to teach in order to supplement his income. In 1947, Greene, through the poet Ronald Bottrall who worked for the British Council, tried to secure a position for him in Italy. Although this failed Bottrall was able to offer advice about applying for British Council work. There is a 37-year gap in correspondence but in October 1984 Greene wrote warmly that he had thought of Humphreys several times when reading reviews of his novels and said he was ‘proud of at least having introduced you when I was at Eyre & Spottiswoode’. The renewal of contact led to further communications between the writers and eventually to a meeting in Antibes in the 13

Brighton, East Sussex

summer of 1986. Greene’s last letter two years later, while thanking Humphreys for the copy of his latest novel, said that he found it ‘shocking’ that the book had not been reviewed. He blamed Weidenfeld and Nicolson for probably failing to send out review copies and urged Humphreys not to give up but to change publisher.

Brighton, East Sussex UNIVERSITY OF SUSSEX THE KINGSLEY MARTIN ARCHIVE and THE NEW STATESMAN ARCHIVE

Kingsley Martin was a left-wing academic and journalist who from 1931 to 1960 was editor of the New Statesman and Nation, and his archive is extensive. The New Statesman is a weekly political and cultural magazine published in London with strong early connections to the Fabian movement; it is centreleft in outlook. The New Statesman archive has two sections: ‘Editorial Correspondence’ – mainly 1944–65 – and ‘Review Correspondence’ – 1956–88. The three letters from Greene in the Kingsley Martin archive, from 1957 to 1958, all pick up points from his reading of the New Statesman – about the age and rudeness of ‘Critic’, and descriptions of General de Gaulle and Cocteau. The first two letters in the New Statesman archive of Editorial Correspondence are from Kingsley Martin to Greene. The first, from October 1952, concerns Greene’s writing of the ‘London Diary’ in the 22 November issue. The second, from October 1953, concerns the two men meeting. The Editorial Correspondence from 1958 to 14

1965 includes two letters from Greene: one from January 1958 offered the magazine an article on the Battle of Dien Bien Phu, with Greene remarking he had brought back from Peking the Communist documentary film of the battle. Most of the rest of this batch consists of letters in which Greene’s agent Pollinger offered the magazine various Greene short stories for publication: ‘Beauty’, ‘Dream of a Strange Land’, ‘A Discovery in the Woods’, ‘Mortmain’, ‘The Root of All Evil’ and ‘Doctor Crombie’. Also offered, in December 1962, was the short story ‘Reading at Night’, which has never been published: the New Statesman rejected it for publication, and Greene decided to withdraw it. There are three further letters from Greene. In May 1968 he enclosed his review of Patricia Cockburn’s book The Years of the Week. In August 1967 Greene puckishly suggested a competition at the expense of Malcolm Muggeridge; the magazine used the idea and asked Greene to judge it. Greene wrote in May 1977 to congratulate Martin Amis on his becoming literary editor of the magazine, but said he could not contribute to its symposium on magazines.

Bristol UNIVERSITY OF BRISTOL THE PENGUIN AND HAMISH HAMILTON ARCHIVES

Graham Greene had a long association with Penguin Books who published his works in paperback from the 1940s onwards. Greene’s correspondence with Jamie

Bristol

Hamilton, the founder of Hamish Hamilton Ltd., dates between 1935 and 1964. The Penguin section of this archive comprises a mixture of correspondence between author and publisher, some company internal correspondence together with letters from other publishers, contractual information and relevant materials often concerning book cover designs. Greene’s relationship with Penguin was amicable for the most part with the writer displaying his familiar loyalty in professional matters when he believed he was being treated fairly. Individual files in this archive relate to particular book titles. Some are classed as ‘Editorial Files’, others as ‘Author Files’. Although clearly numbered, the archive is not arranged in chronological order. The earliest letter in the collection is dated March 1943 and is written by his literary agent David Higham on his behalf. Higham reported that Greene was insistent that he did not want a biographical note or a photograph of him included in what was the first Penguin edition of Brighton Rock. Two years later, Greene wrote complaining about the use of a very out of date photograph of him and a ‘horrible little potted biography’ which had been employed for the same book. This was not the only occasion on which he objected to the presentation of his work. In 1967 a letter from Heinemann, again written on the writer’s behalf, described the new cover designs for The End of the Affair, Brighton Rock and The Heart of the Matter as ‘beyond belief’ and Our Man in Havana as ‘absurd’. Of course, Greene’s desire to maintain close control did not just limit itself to matters of cover design or biographical

detail. In 1969 he wrote to Penguin detailing quite extensive changes he had made to his novel It’s a Battlefield. He stipulated that the company should either wait for the new Collected Edition of the book or use the Uniform or Viking editions but to avoid the original Penguin edition. Three years after the writer’s death, when the issue of the renewal of the publishing contract was raised, it was noted that Greene had indicated shortly before his death that he wished that his works should continue to be published by Penguin, thereby maintaining a link with the company which had begun over half a century earlier. The Hamish Hamilton files comprise correspondence between Greene and Jamie Hamilton. The letters are friendly in tone and in the case of those written prior to the Second World War it is clear that both writer and publisher were eager to make use of the other’s expertise, knowledge and influence. Hamilton asked Greene to read manuscripts and to comment on their suitability for publishing. Greene took the opportunity to promote other authors, including the Indian writer R. K. Narayan. In 1935, despite Greene’s glowing endorsement Hamilton rejected Narayan’s latest work as his previous novel, Swami and Friends, which he had published had been ‘a flop’. In 1937, having assumed the role of literary editor of the magazine Night and Day, it was Greene’s turn to engage Hamilton to act as Rowing Correspondent. The relationship was maintained when Greene was engaged as literary editor of the Spectator. The communication resumed postwar. There were several exchanges in 15

Cambridge, Cambridgeshire

1948 regarding an introduction Greene was asked to write for the Novel Library Edition of Oliver Twist. In one letter Greene stated that it would be ‘fun’ to write an introduction to a book he had never read. Later letters from Greene carry recommendations regarding the Vietnamese writer Nguyễn Tiến Lãng and the French writer Allegra Sander. The last communication, dated 1964, concerned Greene’s foreword to a biography of Edgar Wallace.

Cambridge, Cambridgeshire CAMBRIDGE UNIVERSITY LIBRARY PAPERS OF JOHN WAYNFLETE CARTER

Four letters in 1963–4 to writer, book collector and bibliographer John Carter mainly concern Greene’s desire to sell some of his manuscripts and books. In June 1963 he noted that his wife had the manuscript of The Name of Action, that Catherine Walston had manuscripts or typescripts of six of his works and that the manuscript of The End of the Affair had been lent to the Festival of Britain in 1951. WILLIAM GERHARDIE PAPERS

There are three letters to British novelist and playwright Gerhardie. In 1947 Greene wrote from Eyre & Spottiswoode to accept one of Gerhardie’s books for publication. Two years later he thanked Gerhardie for letting him have a script of the latter’s recent radio talk, and in 1972 he wrote to advise that he had written a brief appreciation of Gerhardie for possible inclusion in The Sunday Times. A letter to a Mr Farnhill-Rathbone at 16

the same time enclosed a copy of this paragraph on Gerhardie. CHURCHILL COLLEGE CAMBRIDGE PAPERS OF CECIL ROBERTS

Cecil Roberts was a journalist who was editor of the Nottingham Journal when Greene became a sub-editor there in 1926. In 1960 Greene thanked him for a copy of his poems and remembered his time in Nottingham. Greene answered a few of Roberts’ questions about himself in 1967, and two years later gave permission for the use of some lines from Journey Without Maps. In 1970 he thanked Roberts for the third volume of autobiography and made a flippant remark about the Journal’s assistant editor, to which Roberts took exception in a note. Greene’s flippancy continued in his fifth and final letter, in 1973. KING’S COLLEGE CAMBRIDGE PAPERS OF JOHN DAVY HAYWARD

Greene wrote twice to anthologist and critic John Hayward in 1931 while researching the life of the Earl of Rochester, whose works Hayward had edited. In 1934 Greene wrote two further letters, now trying, unsuccessfully, to persuade Hayward to contribute a chapter to his anthology The Old School. Greene made it clear that he was not seeking a panegyric. By 1939, Greene was addressing Hayward as a friend, writing to suggest an organization of war authors as a way of avoiding military training. In a long letter he also sought a flat for Dorothy Glover and poked fun at the writing of Hugh Walpole. In March 1940 Greene declared that England Made Me ‘should

Durham

have been called The Shipwrecked’ and that The Power and the Glory was the first of his books he himself liked. In the same letter he stated that his film work for Korda and Basil Dean was ‘best forgotten’. Greene introduced himself as a publisher with Eyre & Spottiswoode in 1944, and in a final letter, twenty  years later, he invited Hayward to attend the first night of Carving a Statue.

Durham DURHAM UNIVERSITY PLOMER COLLECTION

William Plomer was a South Africanborn novelist, poet and literary editor. Two letters from Greene at Eyre & Spottiswoode in 1946 attempted unsuccessfully to get one of Plomer’s novels published in the Century Library series. In 1963 Greene wrote concerning the father of Francis Kilvert. Three letters from Plomer to Greene date from 1936 to 1937, when Greene used a Plomer quotation in Journey Without Maps, and invited Plomer to contribute pieces to a symposium, and to Night and Day.

Edinburgh THE NATIONAL LIBRARY OF SCOTLAND THE MURIEL SPARK ARCHIVE

The award-winning Scottish novelist and Catholic convert Muriel Spark developed a long-standing relationship with Graham Greene, but their letters, running from

1955 to 1989, suggest they only met twice. Greene went to great lengths to help her writing career on its way and to help her financially in the early days. In a letter to Derek Stanford in December 1954, Greene expressed his admiration for her short stories, and said he was glad to have been of help to her. The first letter from Greene to Spark herself is from December 1955. Here he commented on her attempt to get her first novel placed with Macmillan, and offered a number of publishing contacts  – which she put light ticks against, as she followed up his suggestions. He tried to help her to find part-time work, and in 1956 sent her three books to review and £30 in payment. In 1957 he provided a glowing quotation for use in promoting her first novel. In 1962 Greene encouraged Spark to change publisher to Bodley Head – which she did, much later – and by 1965 ‘Dear Mrs Spark’ had become ‘Dear Muriel’. Spark always sent Greene her latest book on publication, and they exchanged comments on each other’s works. Greene was very keen on Spark’s novels, but often commented on their brevity – ‘Don’t make your books any shorter, please’, he once wrote, ‘or you’ll disappear like Beckett’. He enjoyed the humour and sadness of her books, and picked out quirky details for comment – the location of the lavatory in tourist class, the noise made by VIs, the need to beware of ‘the whos & whoms & whiches – first sentence on p.217!’ By 1977 Spark was being approached for information by Norman Sherry. She told Greene that she had refused an interview but told Sherry that Greene had helped her as a young writer, that she admired him tremendously, that they exchanged 17

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books and that she knew nothing of his personal life. Greene often expressed the desire that the two should meet, but there was always some reason why it did not happen. In 1978, with Spark now living in Rome, a visit from Capri became a possibility but, he wrote, ‘I find a magic power of working when I am in Anacapri and I grudge every moment away from it.’ They did finally meet, for only the second time, in Paris in May 1989. THE JOSEPH MACLEOD PAPERS

Joseph Macleod was a poet (writing as ‘Adam Drinan’), actor, playwright, theatre historian and sometime BBC newsreader who was a close friend of Greene at Oxford. The small number of letters from Greene to Macleod, and a few in return from Macleod, date from 1955 to 1982. In 1955 Macleod contacted Greene for the first time in many years, hoping to get work as a translator of Greene’s books into Italian. Greene replied that he already had an established Italian translator, but offered to help him with other work of that kind. His tone was very friendly, and he offered him the use of his house in Anacapri. He remembered last meeting Macleod during the war. In later letters Greene fondly remembered the two of them at Oxford  – their talks in the meadows and poems submitted to the Oxford Outlook. He took an interest in Macleod’s career and married life, wished that the two had stayed closer and that they could meet. For his part, Macleod sent poems, often wrote admiringly of Greene’s books, and remembered him fondly from Oxford days.

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THE JANET ADAM SMITH PAPERS

Janet Adam Smith was a writer, editor and literary journalist whose books on Robert Louis Stevenson and John Buchan formed the basis of her friendship with Greene. Greene’s letters to her run from 1948 to 1987 although most date from the 1970s and 1980s and the handful from her to him are all from these latter decades. In 1948 Greene wrote remarking how much he admired her book on Henry James and Stevenson, and asked if she was going to write a biography of Stevenson. If so, he would abandon the idea of writing one himself. If not, he asked her to provide him with information about possible sources of information on the writer. Greene borrowed some of her material on Stevenson, and they continued to correspond on increasingly friendly terms. Stevenson became a staple topic of their letters – his poetry and letters and books on him by David Daiches and James PopeHennessy. They wrote about their shared interest with the warmth and knowledge of real devotees. In 1974 Greene remarked that his interest had even now extended to his building up a book collection on the lighthouse Stevenson. Greene commented favourably on Smith’s book on John Buchan, and she on some of his works, including A Sort of Life and Monsignor Quixote, and there was much discussion about when and where they might meet. THE ALAN BOLD LETTERS

Greene wrote a single letter to Alan Bold, Scottish poet and biographer of Hugh MacDiarmid. Greene’s letter, in 1986, gave details of a meeting between Greene and MacDiarmid in Chungking. Greene

Exeter, Devon

had found him ‘a little hostile’, but friendlier when they started to talk about Scottish whisky.

Exeter, Devon UNIVERSITY OF EXETER A. L. ROWSE COLLECTION

The writer and academic A. L. Rowse was at Oxford at the same time as Graham Greene. He took part in the BBC broadcast by the Oxford Poets’ Symposium in 1925 which Greene describes in ‘Poetry by Wireless’. This collection of letters and cards date between October 1940 and September or October 1941 when Greene was literary editor of the Spectator and Rowse was both a reviewer for and contributor to the magazine. Only some of the communications are dated and Greene mostly used the magazine’s headed cards to write to Rowse. In the first card, dated October 1940, he informed Rowse that he had only been working as literary editor for a fortnight and the Spectator address was his only one at the present time as the family house in Clapham had just been ‘demolished’ by an enemy bomb. He reminded Rowse that he had last been his editor at university when he had edited the Oxford Outlook. The next month he promised to send him the book he had requested to review, adding that he would be grateful if he could keep to the limit of 600 words. Greene had obviously been made aware of the wartime paper shortage as he made reference to that in a later communication. Greene wrote quite extensively, in an undated letter, in response to a selection

of Rowse’s poems sent to him for possible publication. He was dubious about publishing poems with a very personal content adding, ‘.  .  . but I know you won’t agree about that’. He expressed astonishment that Rowse, given his working-class  Cornish background, could write that it was possible to be in love with the poor. On another occasion Greene was disarmingly frank suggesting that his poems lacked ‘intensity of technique’. In a letter written in March 1941 Greene, in a reference to their time at Oxford together, remarked that Rowse was perhaps the only one of their contemporaries who was still writing poetry, ‘Silence, except for a bad novel, has descended on Harold Acton, silence as far as poetry is concerned from Quennell, Joseph Gordon Macleod has become an unbearable BBC voice. . . .’ Greene’s final letter was sent from Oriel College, Oxford. Although not dated one can assume that it was written in September or October 1941 as Greene referred to the fact he was undergoing training at Oriel prior to leaving the country. He departed for West Africa in December 1941 in order to take up a post in British Intelligence in Freetown.

Leeds, West Yorkshire LEEDS UNIVERSITY THE ELLIOTT COLLECTION

Doctor Fischer of Geneva or The Bomb Party There is a UK and a US first edition of this book, and a US limited edition 19

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signed by Greene. More importantly for anyone wanting to see Greene’s writing methods in the latter part of his career, there is every stage from first thoughts to finished product including scraps of notepaper on which ideas have been jotted down. There are fifty A4 pages of manuscript in Greene’s hand, and all the subsequent stages of book production  – first typescript, a photocopy of the final typescript, the final corrected typescript, galleys, page proofs, the English advance proof copy and the US advance uncorrected proofs. The galleys, page proofs and English advance proof copy are all inscribed by Greene to Yvonne Cloetta. This collection of documents makes clear Greene’s progress in writing Doctor Fischer of Geneva. The original idea for the story came to Greene one Christmas  – his eventual dedication of the book is, ‘To my Daughter, Caroline Bourget, at whose Christmas table at Jongny this story first came to me.’ Jongny is in western Switzerland, north of Lake Geneva. The first page of the book’s manuscript imparts a little more detail  – ‘An idea which came as a joke at Christmas Eve dinner Dec. 24 with my daughter and grandchildren.’ The children were Caroline’s sons, Andrew and Jonathan. We know from Caroline that over dinner at Christmas 1978 Greene discussed with the boys what to put in the Christmas crackers. The thought was that each cracker should contain a precious stone and that one would contain a bomb, like a form of Russian roulette. Here was the kernel of the eventual book, the bomb party that provides its denouement. But if Greene was already considering the joke with the children as the basis for a book, 20

he said nothing about it at the time to his daughter. In Ways of Escape Greene states that after publishing The Human Factor in 1978 (at the age of 73), he assumed that his writing days were over. Then ‘a new book, Dr Fischer of Geneva, came without any warning to my mind’. Five days after that Christmas dinner, on December 29, Greene returned from Switzerland to his home in the south of France, and the evidence is that he began work on the new book immediately. The first page of his handwritten manuscript is dated ‘Antibes Dec. 30 1978’, and even at that stage included the quotation from Herman Melville that became the book’s epigraph. Greene’s mind had clearly been racing ahead. Was this to be a novel, or a short story? Greene realized very soon that it would not be a full-length novel – his first sheet of notepaper preceding the draft has the heading ‘“Short” story’, but by the second sheet it is ‘Nouvelle’. And what to call it? Different sheets have ‘The Bomb Party’ and ‘Doctor Fischer of Geneva or The Bomb Party’. The manuscript of 30 December has ‘Doctor Fischer’s Little Parties/The Bomb Party’, while the first typescript, dated 1 March 1979, has simply ‘THE BOMB PARTY’ above which Greene has added in green ink ‘Doctor Fischer of Geneva or’. The book now had its final title, the only one of his published novels to have an alternative title if one discounts the US variants. The sheets of notepaper offer an intriguing insight into Greene’s working methods. There are ten of them in all, approximately A5 in size, some apparently writing paper, one headed with his

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Antibes address, some mere scraps. None are dated, so it is impossible to know whether they were written on before the manuscript was begun, or while the book was being written; perhaps both. They are all clearly bits of paper Greene has written on as and when an idea first struck him. One is accompanied by a shopping list – torn at the corner and with ‘Marmalade Tea Sugar Butter’ written at the top. These sheets show Greene working out the main elements of the characters and plot  – Fischer is, ‘Famous for his strange parties – but always a present to make up for them’ and ‘Jones is Fischer’s son-in-law  – the reason he is invited to the parties.’ Sometimes the note draws attention to a plot issue still to be resolved – ‘Death of A-L. how?’ . . . ‘Was F’s wife innocent?’  – or it represents an idea that did not eventually make it into the novel: ‘? F. himself takes a cracker. A sort of satanic pride.’ This latter notion does find echoes in the book. Very often snatches of dialogue are jotted down: ‘Oh yes, he’ll teach you to laugh.’.  .  . ‘You think yourself like God.’.  .  . ‘Your theology interests me. You think God despises and corrupts.’ It is often interesting to compare the note with the final text. There is a note on Fischer, ‘What was he a doctor of? I never knew. It was difficult to imagine him submitting to a board of examiners as it was difficult to conceive him young.’ In the final text this becomes, ‘Of what he was a doctor I don’t know to this day. Perhaps they had invented the title to honour him, just as they called the Divisionaire “General”.’ This jotting down of possible bits of dialogue becomes important when the manuscript is looked at: it contains much

direct speech. The 50-page holograph manuscript has the final word count of 31,200 words recorded at the end. Greene wrote in blue ink, then amended in black, then in green. Greene’s first attempt at the first sentence was ‘I think I detested Doctor Fischer more than any other man I have known just as I loved his daughter more than I have loved any other woman.’  – a version which he changed to its final form at the first transcript stage. Intriguingly, there is a slightly different ending. The novel as published ends with Jones avoiding Mrs Montgomery by hurrying on ‘to meet an Argentinian client’. In the manuscript this is followed by these two sentences: ‘I work, as I worked when Anna-Luise and I were together, filling some of the empty hours. Perhaps when retirement comes and those hours are longer I may change my mind and prefer nothingness.’ This ending  – perhaps suggesting that Jones might eventually find the courage to kill himself  – was deleted when Greene corrected the first typescript. The manuscript was begun on 30 December 1978. The first typescript is dated 1 March 1979, so Greene seems to have written the book in less than two months. Doctor Fischer was written remarkably quickly even for so short a tale. The impression is that once the idea had occurred to Greene the complete picture fell into place rapidly and was committed to paper in a surge of creativity. Thereafter Greene amended and corrected at a slower pace. The first typescript was corrected between March and June 1979, with much detail added to Section 1 in particular, together with changes of word order and clarity 21

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of expression. ‘General’ becomes ‘Divisionaire’, although he continues to be referred to as the former by the other characters. Changes are made to the sections on the porridge party, the bomb party and to the meeting with Steiner. At the next and final typescript stage in August there are few changes made. However, in October 1979 while viewing the page proofs, Greene decided to change Jones’ artificial hand from wood to plastic. He also added ‘at Jongny’ to the book’s dedication to his daughter. The novel was published in March 1980 just 15 months after the Christmas dinner which inspired it. Two further jottings also give an insight into what else Greene was preoccupied with at the same time as he wrote Doctor Fischer. On the first sheet of the notes Greene made for the novel he has written, ‘Captain: Account of his escape. Short period in prison. Owes me a living.’ This clearly refers to ideas for another novel, eventually published in 1988 as The Captain and the Enemy. Material relating to that novel at Boston College make it clear that Greene was at work on The Captain and the Enemy before and after the idea for Doctor Fischer came to him. The second jotting comprises a threepage, undated, draft letter written on the back cover of the English advance proof copy of Doctor Fischer. It has its origins in the situation which led Greene to publish J’Accuse in 1982. Headed ‘Draft of letter to a Mutual Acquaintance’, the

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letter has the names of people crossed through, but is clearly aimed at Daniel Guy, former husband of Martine, the daughter of Yvonne Cloetta. The letter says that Greene despises Daniel for his ‘cowardly assault on’ and persecution of Martine; it urges him to ‘show the pride proper to a man who has lost the love of his wife and stop trying to take mean revenge’; and Greene brings in his own experience in this context – ‘I can claim to have won the friendship of my wife and the love of my children, even though our separation occurred when they were very young.’ It is not clear whether the letter was ever sent.

The Honorary Consul A photocopy of the typescript of the novel has some slight amendments in Greene’s hand, and is dated September 1969 to September 1972.

Contracts and Related Materials There are eleven files of contracts for the translation, reprinting and film rights to a number of Greene’s works, from the 1930s to the 1950s. Among a mass of other material there are some interesting comments made by Greene on a number of issues relating to his work. One details his involvement in writing for the film Four Dark Hours (aka The Green Cockatoo) in 1936–7. Another is a copy of Greene’s letter to Laurence Pollinger of July 1944 concerning how money might be generated for his family in the event of his death. There is an intriguing agreement in 1946 for a Spanish edition of the book Greene chose to suppress, Rumour at Nightfall. Other letters include one dating from 1952 telling

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Greene that MGM had decided not to exercise their film rights on The Living Room and from 1954, news that ‘Greek pirates’ of Greene’s work had at last been forced to pay £25. In a file marked ‘Across the Bridge etc.’ there is a series of letters and agreements concerning the 1944 contract Greene had with MGM to write film stories and treatments. The original contract, on 3 February, states that Greene may be required to write an adaptation of another person’s work but not, specifically, War and Peace.

Loser Takes All A proof copy of the short novel is from the library of Vivien Greene, and is stamped ‘Received 26 October 1954 The Windmill Press’. It has a number of amendments and corrections by Vivien, done several years after Graham’s separation from her. Presumably he was out of the country when the proof reading had to be completed. The changes are relatively minor – ‘bathing dress’ becomes ‘bathing suit’, ‘a very little’ is changed to ‘very slightly’ – but all were accepted by Greene for the novel as published in 1955.

‘How Father Quixote became a Monsignor’ This is the first part of what became the novel Monsignor Quixote. The holograph manuscript of nine pages, in blue ink with revisions in black, differs slightly from the published novel, as do versions published in the Tablet and in a limited edition: ‘his little six-year-old Fiat Five’, for instance, becomes ‘his little Seat 600’ in the novel. The holograph manuscript of Greene’s two-page preface for the limited edition is dated June 1979. There are copies of

the 1980 limited edition and the Tablet Christmas numbers of 1978 and 1979.

‘The Blessing’ The holograph manuscript of six pages has an instruction in pencil that Monica [McCall], Marie S [Schebeko] and Pollinger had been ‘told to destroy July 1964’. Greene eventually allowed the short story to be published in 1966. The manuscript has revisions in Greene’s hand, almost all of them on the first page. Four typed drafts – the first dated 13 July 1964 – show further revisions, including two paragraphs added to the ending. There is a copy of the story as it appeared in magazines in 1966.

A World of My Own Extracts from Greene’s dream diary were published posthumously in 1992.Although the volume was prepared for publication by Yvonne Cloetta, the materials at Leeds show Greene’s close involvement before his death. The typescript is revised and extensively renumbered by Greene, with many interleaved photocopies of pages from the original dream diaries, themselves revised by Greene. The dates of the original diary entries have been crossed out. Some original entries have been crossed through, and some entries added – for instance, one on Ford Madox Ford. There is a Contents List in Greene’s hand and five versions of Greene’s introduction, not all of them complete, with revisions by Greene and ‘Post-it’ notes to indicate who made what changes. A note in Greene’s hand on the outside cover states, ‘In the event of my death these pieces can be cut and rearranged under the separate headings. None to be

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used of those I have crossed out. Don’t bother about dates. 8.4.90.’

Letter: ‘The Paradoxes of Argentina’ The Argentinian poet Juan Gelman, in exile from 1976, wrote to Greene in August 1987 soliciting his support for his efforts to return to Argentina, chiefly for family members who had ‘disappeared’. The typed letter in the file was then extensively modified and reduced in length by Greene. It was intended to be sent to the Independent, as if it had been written by Greene. Headed ‘The Paradoxes of Argentina’, the letter was published in the newspaper on 24 September 1987. The file contains both a typescript and the published newspaper copy. It was reprinted in Buenos Aires in October. Gelman was re-admitted to Argentina in 1988, acknowledging his indebtedness to Greene’s intervention.

Greene Books The Elliott collection includes a number of rare or unique books. The copy of Greene’s first published book Babbling April is inscribed in February 1926 by Greene to Helen Laws, whose identity is unknown. A number of other books are inscribed by Greene to his wife Vivien. These include first editions of his first two published novels The Man Within and The Name of Action; the former has an eightline untitled poem to Vivien which begins ‘Seeking to express with time-worn words’. Greene’s own copy of Journey Without Maps is inscribed by him, ‘This edition was suppressed because of a libel action brought about by a Doctor Oakley (see pages 50–3) whom I didn’t know existed. This copy has been revised for 24

a reprint.’ The reprint was not published until 1946. This volume therefore has been annotated with revisions in Greene’s hand. In his description of a Liverpool hotel and on his arrival in Freetown the heading ‘Pa Oakley’ becomes ‘The Three Companions’, and the character Pa Oakley is replaced by ‘Daddy’. Greene’s copy of the book is the UK first edition with its photographic illustrations.

Evelyn Waugh Evelyn Waugh’s novel Brideshead Revisited was published in 1945, but a year earlier 50 advance copies were issued privately for Waugh’s friends. Greene’s copy at Leeds is inscribed: ‘For Graham Greene this antiquated book from Evelyn Waugh March 1944.’ The 1945 edition had significant textual changes from this earlier, private one, particularly to the ending. This book is accompanied by a letter from Greene to a book collector, Jeffrey Young, dated August 1989. In it, Greene claimed he could remember nothing about being presented with this ‘proof copy’ of the novel, but that he thought Waugh had inscribed only nineteen of them. THE BROTHERTON COLLECTION

Herbert Read correspondence Herbert Read, the English poet, art and literary critic, was a longstanding friend of the writer. Greene’s letters from 1966 concern Cuba: Greene had recently visited the island and he passed on a request from two local artists for Read to come and reorganize their art gallery. The letters from March to June 1968 concern the arrangements for Read to stay at Greene’s house in Anacapri, while Greene

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himself would be away. Greene sent Read a blank cheque with a guaranteed limit, adding that more money was available if he needed it. He told Read about possible eating places on Capri – ‘I’m afraid you won’t find the Capri food all that good.’ He asked him occasionally to entertain his ‘great friend’ Dottoressa Moor at Gemma’s, recommended the garden at ‘The awful Axel Munthe’s villa’ and the majolica floor of the church of San Michele. In one letter he stated, ‘I love you as everyone does, I believe, who knows you.’ Read’s deteriorating health formed a backdrop to Greene’s letters and on 2 June Read wrote that he had worsened and could not now make Capri. Read died on 12 June 1968.

Piers Paul Read correspondence Piers Paul Read is a novelist, historian, biographer and journalist, and the son of Herbert Read. Greene’s letters to him run from 1969 to 1986, but almost all date from 1969 to 1976. In 1970 the two men discussed meeting. Greene suggested Berkhamsted – ‘good for a pub crawl’ – and in 1975 Greene arranged for Read to come to visit him in Antibes. When Read moved to France in 1979, Greene commented, ‘I have never regretted leaving England.’ Read sent copies of his books as they were published, and Greene offered his comments. He enjoyed the early novels The Junkers and Monk Dawson very much but later declared the 1976 Polonaise ‘your finest novel’. After reading one of Read’s novels, Greene described him as ‘too profoundly nice a person to draw a really evil character!’ Greene was honest in conveying his literary judgements: ‘I am

merciless to my friends when it comes to writing.’ There was an exchange as Read researched a new angle on the Great Train Robbery for a forthcoming book. When Solzhenitsyn was deported from the Soviet Union in 1974, Greene commented, ‘he faces the worst experience of his life now in the West  – finding himself a rich man and pursued by journalists’. Greene also encouraged Read to go to the Soviet Union, writing, ‘there’s a curious fascination about Moscow and Leningrad is very beautiful’. In the last letter, from 1986, Greene commented on an article by Read in the Tablet, claiming it did not outrage him, but offering critical comment.

London BRITISH FILM INSTITUTE JOSEPH LOSEY COLLECTION

American theatre and film director Joseph Losey never made a film with Graham Greene, but it was not for want of trying. The two men admired each other’s work, and from 1965 to 1978 they were in touch over a series of projects, none of which came to fruition. In February 1965 Losey wrote to Greene asking him if he knew his work, and whether he would be interested in writing a screenplay of The Wings of a Dove. Greene refused: he had a novel to finish – The Comedians – and in any case, he added, ‘I find film work so exhausting that it unfits me for anything else for a considerable time.’ Greene added that in 1950 he had tried to persuade Alexander Korda to make a film of the James novel, 25

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with Laurence Olivier as Merton Densher and Vivien Leigh as Kate Croy. By the following year Losey was developing a stage musical version of Brighton Rock, and met Greene in March to discuss the project. An announcement was made that the show would open in late 1966 and that Greene was involved in advising on the book. John Barry was to write the music and work with a top lyricist – later named as Mack David. The files contain songs, including ‘The Poor Little Orphan Crocodile’, drafts and notes, various annotated script extracts and ideas for casting  – Tom Courtenay as Pinkie, Julie Christie as Rose. There are two completed scripts, one dated January 1967, both of which are credited to writer Lukas Heller. There is no indication as to why the project failed but in November 1968 Losey wrote to Greene regretting its demise. Late in 1968 Greene wrote that he would like to meet Losey, although whether he had any idea in mind is not clear. By the end of 1969 Losey was showing interest in filming Greene’s latest novel, Travels with My Aunt. Greene replied that interest had already been shown in the USA, and by two actresses, but that he himself was about to start a new novel and was not interested in doing script work on the book. Again the idea came to nothing. Between June 1972 and December 1973 Losey pursued the idea of a film of Conrad’s The Secret Agent, with a screenplay by Greene. The latter was clearly interested, writing in July 1972 that he had ‘a great admiration’ for the book – but again there was a novel to finish and an abhorrence of submitting himself to the exhausting work of screenplay writing. But Greene did meet Losey to discuss the 26

idea in August, and wrote to confirm his commitment to the project; he could begin work in February 1973 at the earliest, and the work would have to be done in Antibes. By September contracts were being drawn up, and Greene suggested a possible child actor to play Stevie. By October 1972 difficulties over film rights were emerging, and Greene wrote to Losey pointing out that copyright on Conrad’s work would expire in 1974 and suggesting a postponement of the project until then. In early 1973 Greene wrote to express his doubts about the prospective producer Jerry Bick, but the letter shows he was on friendly terms with Losey addressing him now as ‘Dear Joe’, and committed to the project: ‘I would always be ready to work on THE SECRET AGENT with you on our own terms.’ A possible meeting between Greene and Losey in March proved impossible, and by August Greene wrote about escaping from an encounter with Bick in Paris. In December Greene wrote regretting the failure of the Conrad project. In the same month Losey told him that he had been approached by Ned Sherrin to make a film of ‘May We Borrow Your Husband?’ with Harold Pinter. Greene knew nothing of the idea; it came to nothing. In a brief exchange of letters in May 1974 Losey tried to interest Greene in providing a screenplay for a film of either Patrick White’s Voss or Dino Buzzati’s Il Deserto dei Tartari. Greene replied that he had read the White book but, ‘Much as I would like to work with you’, he was scared of tackling Voss and the necessary research and time spent in Australia. Again Losey drew a blank. Joseph Losey’s last attempt came in 1978–9 and involved filming The Human

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Factor. Losey expressed great interest in the project from March 1978 and enthused Harold Pinter as well. However, news came though that Otto Preminger was in the frame to do the picture. But right into 1979 there was uncertainty about whether Preminger would be able to deliver, and both Losey and Greene remained interested. In April 1978 Greene named Pinter as his first choice to write the screenplay, then suggested Anthony Burgess as being ‘tough enough to stand no nonsense’, and finally Tom Stoppard. Greene also wrote that the situation with Preminger was complicated by his own personal friendship with him and the shortcomings of his US agent Monica McCall. By June 1978 Preminger had settled on Stoppard. Greene wrote that at least he had a good scriptwriter but predicted that there would be conflict. He still hoped for a Losey/Pinter version. By December Greene had seen a second version of Stoppard’s script and thought the South African part quite wrong. He told Losey that he was pleased that he and Pinter were still interested in doing the film if Preminger failed. In February 1979, Greene’s ideas for casting  – ‘somewhat different from Preminger’s’  – included Paul Scofield as Castle and Trevor Howard as C. In Losey’s own last letter on file, also in February, he was still hopeful of his making the film with Pinter and was trying to raise the £2–3 million needed. The story ended there; Preminger made the film. MICHAEL POWELL COLLECTION

The Living Room opened in London in 1953, and there followed several

attempts to turn it into a film. According to The Graham Greene Film Reader: Mornings in the Dark there was one in 1960 involving Greene and John Sutro, two in 1964 and another by Michael Powell in 1969. The various materials on The Living Room in the Michael Powell Collection suggest that Michael Powell was also involved in the Greene/ Sutro project, a film which would have featured Rex Harrison and a young Samantha Eggar, with a screenplay by Greene. A typed ‘master script’ has deletions, additions and amendments in Greene’s hand; this is a photocopy which also has typed pages of these changes. There is much ‘opening out’ of the action in this version – for instance, an opening scene in a cemetery in a northern town, and scenes in London streets and in Hyde Park. The whole document has ‘Final changes in screenplay May 16th 1961’ on it, and seems to be the basis of an undated typed screenplay by Greene, also in the files. This is in turn the starting point of an undated screenplay labelled ‘Michael Powell’s version’, which shows many departures from Greene’s screenplay: for instance, the funeral at the beginning is now in Ireland, the Rose/Michael relationship is shown as very physical and the house is in Bristol, near the Clifton Suspension Bridge. Whether this ‘Michael Powell’s version’ was for a film in the early or late 1960s is not clear. Certainly from the latter part of the decade are undated synopses of the Greene screenplay, one in Powell’s hand and one typed; in it, Jack Nicholson is named as a possible actor for the part of Michael Dennis. None of these versions made it to the screen. 27

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The film director Carol Reed’s celebrated partnership with Greene is represented by material from two realized projects of major importance, and one unrealized. The first realized one was the 1948 film The Fallen Idol adapted from Greene’s short story ‘The Basement Room’. The material reveals that a number of variations to the story were considered. There is a bound typed ‘First Treatment’ by Greene dated 10 July 1947 which includes a deleted scene featuring the ghost of Mrs Baines heard by the boy after his return from the police station. An undated typed ‘Script of “Lost Illusions”’ has some additions and deletions in Greene’s hand – in particular, a thorough rewriting of the scene at the police station, with ‘Rose’ changed from a uniformed policewoman to a prostitute. The cover for this script has possible alternative titles, ‘A Very Simple Case’ and ‘The Child on the Staircase’. Also in Greene’s hand is the intriguing note, ‘? Mrs B. really kills herself?’ Another copy of the same typescript, now called ‘The Fallen Idol’, is heavily annotated in pencil on every page, apparently by Reed  – with ‘CU’ for close-up, indications of some actors’ movements, some deletions of scenes and some dialogue changes, including the very last line of the film. Most fascinating of all is a 12-page undated ‘Script Notes on “The Basement Room”’. Headed ‘3rd Version’, and by Greene, it has some very marked divergences from the finished film. Here, the boy Phil says ‘I did it’, to take the blame away from Baines. But on hearing that this will draw the blame onto Baines, he writes a note saying that

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no one killed Mrs Baines, then thinks of jumping from an upstairs window. Eight pages of further notes, apparently by Reed, make twenty-three points on this version, including the advantage of having an embassy setting, the need to establish the character of Baines before that of Mrs Baines and to give her an acceptable reason for her behaviour, and Reed’s disagreement with the idea of the boy’s suicide note and attempted suicide. The collaboration of writer and director on the film was evidently very close. The second realized project concerns the phenomenally successful film of 1949, The Third Man. A copy of Greene’s original story, written as the basis of the film script and later published, is dated March to April 1948. Two later but undated draft scripts have Martins an Englishman and much early explanation of the zones of control in Vienna. Carol Reed’s own shooting script is dated September 1948. Martins is a Canadian in this version, Anna Schmidt a Ukrainian and Crabbin is two characters, Carter and Tombs. Reed annotated the script quite heavily, making a number of deletions – particularly at the very beginning to get the story moving much more quickly. The dialogue atop the Ferris Wheel is much amended, and in the cemetery scene at the end Anna walks past Martins. Documents dating from August 1948 demonstrate some of the factors shaping the emerging film story. A letter from the US Production Code to the producer David Selznick insisted that no dialogue should point up an explicit sex relationship between Anna and Harry, and that at the end of the film, when Martins shoots Harry on a shouted order from Calloway, there

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was to be no suggestion of mercy killing or deliberate murder. There are, too, extensive conference notes of around six days of discussion on the film involving Greene, Reed and Selznick. These talks explored a range of possibilities – a different title for the film, Anna to be Czech and thus more sympathetic and topical, Martins to arrive by train rather than plane. Many of these suggestions were acted on, and ticked in the notes, and there are photocopies of sections of the script showing extensive amendments in Greene’s hand. Selznick felt strongly that Anna’s love for Harry should be so powerful that she and Martins should not finish the story together. His casting ideas included Welles or Noël Coward as Harry and Cary Grant or James Stewart as Martins. The unrealized project takes the form of an undated script of his film story ‘No Man’s Land’. It is identical to the typescript at Austin, Texas. The story was written in 1950 for Alexander Korda, with Reed to be the director.

Other Screenplays In addition to those mentioned above, the British Film Institute has a great many screenplays of films made from Greene’s fiction. These are listed in Part 2. THE BRITISH LIBRARY

Department of Western Manuscripts The British Library has the largest and most diverse collection of materials relating to Greene anywhere in the UK. It includes manuscripts and diaries plus an extensive range of correspondence from family members, friends and professional contacts.

CORRESPONDENCE

Richard Aldington The controversy concerning Aldington’s book on Norman Douglas is covered in the section on the Douglas correspondence at Boston College. The extra element here is a photocopy of ‘What Next? or Black Douglas and White Ladyship being An Herpetology of Literary London’, the never-published counter to Greene’s review by Aldington and others.

John C. Casey There is a revealing holograph letter from Greene to the Rev. John C. Casey, dated April 1980. Casey had written to Greene about how he had tried to comfort a widow in distress by referring to The Heart of the Matter. In his reply, Greene stated that he found the story moving, but that the letter had given him happiness at the comfort offered the woman. Personally he was not happy with the novel  – ‘I was rusty as a writer after the war ended’ – but took issue with the critics in their labelling of ‘Greeneland’, adding, ‘I argue that I am a realistic writer, writing about a real world which they never seem to have had contact with.’

Canon John Roger Fox Canon Fox of St Maurice Abbey in Switzerland had his small volume of autobiography, Bridging the Gulf, published in 1983. He wrote many letters during 1981 to achieve this goal, mainly to bookseller David Low and to Robin Waterfield of the Amate Press, Oxford. Greene had met Fox in Singapore in the 1950s, and it seems to have been Low’s idea to persuade Greene to write a preface. In October 1981 Greene told

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Low that he thought the book worth publishing, though it became ‘thin’ towards the end, and offered to write an anecdotal preface. In February 1983 Greene told Waterfield that he was very busy but would write a brief introduction if he could be sent proofs, to revive his memory. Waterfield’s letter in reply in June, enclosing the proofs, has Greene’s preface handwritten on the back. Greene enclosed the typed preface in a letter to Waterfield in July 1983 but pointed out that he was in a hurry and so had not reread the book before writing his piece.

Margaret Gardiner Margaret Gardiner was a British artist and left-wing political activist. Among her extensive correspondence are seven letters from Greene, dating from 1965 to 1988. Many are concerned with causes for which Gardiner was attempting to enlist Greene’s support. In October 1965 he wrote that he would not add his name to an advertisement in the New York Times because although he sympathized with her cause – not stated – it would only ‘exacerbate American sympathisers’. Again in August 1968, after the Soviet invasion of Czechoslovakia, he agreed in principle to her statement to the BBC but added, ‘I don’t like signing letters which usually have the same signatures and do little good.’ However, the following month Greene did sign a typescript copy of a joint letter, as did others including Iris Murdoch, J. B. Priestley, Paul Scofield and Eric Hobsbawm, calling for the USSR to withdraw her troops from Czechoslovakia. In 1975 Greene repeated that he sympathized very much with her 30

project – the nature of which is not clear from the letter – but that he was much too busy to help. In an undated handwritten letter, he told Gardiner that she could of course use the message  – but again the context is unclear. In a much more personal letter in August 1979, Greene shared memories of his relatives Eva, Ben and Ave Greene, the latter, ‘A very attractive girl, perhaps at my age then all the more attractive for being quiet!’ and of Kenneth and Zoë Richmond. He wrote of Zoë, ‘I heard recently that she thought I had mistaken my profession by becoming a novelist because I would have made a very good medium!’

Greene’s letters to his parents This correspondence has been lent to the British Library by Graham Greene’s son and literary executor, Francis. It is a major collection of his correspondence – over 400 items in total, dating from 1921 when he was still a schoolboy in Berkhamsted to 1959, the year of his mother’s death when Greene was an internationally renowned man of letters. Around three-quarters of the letters are from the 1920s and 1930s, with a number difficult to date owing to the lack of a year. One unsorted sequence, apparently from the 1950s, has letters successively sent from Rome, China, Kuala Lumpur, Cadiz, Calgary, Saigon, Nairobi, Jamaica and Anacapri. The majority are letters, but with a fair number of postcards, and the great majority are handwritten. The hectic pace of Greene’s professional life in the 1930s is reflected in a series of typed letters. It seems that only three are addressed specifically to Greene’s father, ‘Da’, but it seems likely that the rest,

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sent to Marion Greene, ‘Mumma’, were intended for his father too. A very early letter, from September 1921, found Greene on-board a ship bound for Lisbon for a brief holiday with his aunt Eva; he commented shrewdly on some of his fellow passengers. His many letters from Oxford, some of them quite long, kept his parents up to date with his undergraduate life  – thanking them for money and clothes they had sent and detailing his student writing, lectures, exams, gossip. In December 1926, now working in London, Greene told his mother that he had had his pocket picked on the train into Euston. Greene then married  – ‘V. sends her love’ – and started his writing career. In September 1930 he wrote, ‘“The Name of Action” comes out on October 6. Will you put it on your library list?’ As he became busier Greene often apologized for not writing more often. He discussed family news, meetings with family members; he asked after the health of his father and sometimes of his mother too. He discussed his reading and the progress of his career, sending copies of his books as they were published. The 1930s correspondence reflects Greene’s growing taste for foreign travel, with postcards from Sweden and Liberia and Mexico. One to his father from Liberia stated enthusiastically, ‘Enjoying myself immensely at the legation. Very fit.’ Letters from the early 1940s told of wartime London and Greene’s work as an air warden. He wrote several letters from Sierra Leone in 1942, telling of his life in Freetown and, at the end of the year, reacted to the news of the death of his father. In 1943 Greene saw the Hollywood

film This Gun for Hire, based on one of his books: ‘I didn’t think it was very good .  .  . though I liked Alan Ladd a lot.’ By the mid-1940s he was back in London and writing from Eyre & Spottiswoode. He told of his interest in acquiring a new house. He looked at one in Bury St Edmunds and in 1947, at Queen’s House, Linton, near Cambridge, he told his mother he was with ‘my beautiful goddaughter Katherine Walston.’ In October 1951 he wrote from Alexander Korda’s yacht M.Y. Elsewhere at Athens: ‘Thank goodness we are a small party. Only the Oliviers so far, and Margot Fonteyn who comes today .  .  . Vivien Leigh is altogether too catlike for me.’ A number of letters were sent from Indo-China and some from Canada when Greene visited his daughter Lucy Caroline. In February 1959 he wrote to Marion Greene from the Belgian Congo, with news of his journey there and of the people he had met, including Dr Michel Lechat.

Ronald Harwood Ronald Harwood is a South Africanborn author, playwright and screenwriter. There are a handful of letters from Greene among his papers, dated 1973 to 1988. In March 1974 Greene wrote to Harwood about plays being performed in South Africa. In 1963 Greene had joined 47 other playwrights in declaring that they would not allow their works to be performed where a colour bar was applied to audiences. Now Harwood suggested that the ban should be lifted and South Africa subjected to cultural bombardment. Greene’s letter agreed with Harwood’s suggestion and added 31

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his own perception of attitudes from a stay of six weeks in South Africa in 1973. He was struck, he wrote, by ‘the strong stand of the English press .  .  . against Apartheid’, adding, ‘many Afrikaners, especially in the younger generation, are anti-Apartheid’. In a letter in February 1978 Greene told Harwood he had read his One. Interior. Day. Adventures in the Film Trade with pleasure, ‘and a certain sad nostalgia for the forties and fifties when I too found myself involved in the mad world you so vividly recall’. In two further letters, Greene declined to write tributes to two famous actors. In 1983, the tribute would have been to Sir John Gielgud. He claimed he was too busy writing Getting to Know the General, ‘which is causing me a lot of trouble . . . At 78 one has to guard one’s energies.’ Five years later the tribute would have concerned Sir Alec Guinness: ‘I am very fond of Alec .  .  . but the essay has never been an easy form of writing for me and now as I approach 84 it is a nightmare for me to promise a contribution to anything at all.’ There is also a transcript of Harwood’s radio interview with Greene, broadcast on 3 December 1975 and later published in the Listener.

Mervyn and Maeve Peake Writing on behalf of Eyre & Spottiswoode Greene, in an undated holograph letter possibly from October 1943, gave very detailed and critical comments on Peake’s novel Titus Groan. Among other matters he advised that, ‘about 10,000 words of adjectives and prolix dialogue could come out’. However Greene still assured Peake, ‘I want to publish it.’ In September 32

1954 Greene wrote to thank the writer and artist for Alice in Wonderland, stating that Peake’s illustrations were the first satisfactory ones since Tenniel but bemoaning the lack of any full length illustrations of Alice. In 1961 Greene wrote to Maeve Peake with concern at news of Mervyn’s illness, ‘He so often seems to disappear into a mysterious limbo but it had never occurred to me that he was ill.’

Kathleen Raine The series of letters to the poet Kathleen Raine date from the period when Greene was working firstly part-time and later on a full-time basis for Eyre & Spottiswoode. The first, written in pencil while on airraid duty on July 1943, praised one of her latest poems. He conceded that they had not always agreed about her work when he was literary editor for the Spectator. He was instrumental in getting her volume Talk of the Devil published by Eyre & Spottiswoode; in February 1945 he apologized for the delays in having the work bound owing to war shortages. Two letters the next year are indicative of a burgeoning relationship. In one Greene offered Raine two book translations and a review, in the second he praised her new work Ecce Homo which he described as ‘superb’.

Terence Rattigan Terence Rattigan was given screen credit with Greene for the screenplay for the 1947 film Brighton Rock and there are various versions of the story among his papers. A 58-page holograph ‘Outline Treatment’ in Rattigan’s hand is dated 29 July to 22 August 1946 and there is

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an undated typescript of this version, with pencil corrections. A typed, undated and uncredited ‘2nd film treatment’ is unfinished, ending just after the murder of Fred on the fairground ride. Unlike the other two treatments, this one starts with Rose in Nelson Place rather than in Brighton on Whit Monday. An undated ‘3rd Shooting Script by Roy Boulting from the Screenplay by Graham Greene and Terence Rattigan’ also has a different opening, this time at Frank’s house.

Max Reinhardt Max Reinhardt was co-owner of the Bodley Head and responsible for appointing Greene as a director. When the company was sold to Random House in the 1980s the writer followed him to Reinhardt Books. Max Reinhardt was also a close, personal friend. This collection includes a large amount of relevant correspondence between the two men which principally dates from the late 1950s until the writer’s death. Many of the letters include a mixture of business and social topics. As the subject matter mostly concerns the selling of Graham Greene’s books, a number of the files, some containing very large quantities of letters, are predominantly composed of Reinhardt’s letters to and from third parties and other day-to-day publishing business including contracts. The earliest letters constitute something of an aberration in terms of dates, as they were written by Greene in 1925 and 1933 and do not involve Reinhardt himself. Greene accepted a job with the British American Tobacco Company in 1925. In an undated letter to A. D. Peters, his literary agent, he

confessed that he was disillusioned with office work and had ‘a strong drive to write’. He asked if Peters could help him to find a sympathetic editor as he needed to gain practical experience before applying for work at The Times. He then referred to his own poetry, apologizing that ‘“The Forest Way” still failed. I begin to think to myself that the whole of the second half needs scrapping.’ He also mentioned, ‘another volume of verse nearly complete for Blackwell, a long poem and some miscellaneous pieces’. He hoped that the agent would undertake the necessary business negotiations. The 1933 letter informed Ian Mornington-Parsons that he would have to decline the offer of a job in the Bodley Head publishing office on the grounds that he was living in Oxford and his wife was shortly expecting a baby. He added, ‘If I’d been in London I should have leapt at it.’ He mentioned that the previous year had been a particularly difficult period financially and that he had been prepared to give up writing as a full-time occupation. The remainder of the correspondence commences in June 1957 when Max Reinhardt wrote to Greene to inform him that he had been appointed as a director of Bodley Head, a post he held until 1968. Two months later Greene provided the first of what was to be a long succession of letters recommending various authors which he felt should be added to the company list. Some were established names such as R. K. Narayan. Greene wrote a long letter to Reinhardt in September 1964 setting out the reasons why the Bodley Head should ‘acquire’ the Indian writer. Reinhardt was subsequently 33

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persuaded. He was also instrumental in both personally encouraging unknown authors and in introducing them to the company. This was the case with Gilbert Phelps who he told Reinhardt in March 1962 was in the process of writing ‘an extraordinary and fascinating book’. He was not always successful however. In September 1962 he tried to convince the company to publish Henry Miller’s controversial Tropic of Cancer and Tropic of Capricorn: ‘The courageous thing for us to do would be to publish in one volume both “Tropics”.’ Unfortunately, Reinhardt’s reasons for declining this opportunity are not known. He was extensively involved in promoting Ford Madox Ford who had been neglected in recent years. Intensive lobbying by Greene helped lead to his rediscovery as a writer of significance. The publication of the first volume of The Bodley Head Ford Madox Ford constituted Greene’s first major contribution as director of the company. In January 1962 he wrote to Reinhardt that he was actively ‘campaigning’ on behalf of Ford and the new edition. Three further volumes of Ford’s work followed during the 1960s; Greene’s decision not to publish The Last Post, the final book in the so-called Tietjens cycle, caused some dismay among Ford’s relatives, and the relevant correspondence is included in this collection. Greene wrote four books for children between 1946 and 1953 in collaboration with and illustrated by Dorothy Glover. In a detailed letter to Max Reinhardt in September 1959, Greene discussed whether the titles should be reissued and gave his opinions on the books. He 34

considered the one most worth reprinting was The Little Fire Engine, ‘as it contains the best illustrations’. He thought The Little Train was nicely illustrated but that the Max Parrish second edition had an inferior version in two colours and a different format. Regarding The Little Horse Bus he claimed that the artist was, ‘forced to use only two colours and I don’t think the drawings are up to her proper form’. Greene thought the same was true of The Little Steamroller adding, ‘and in that case the author was not up to his proper form either’. In a further letter to Reinhardt the following month Greene rejected the idea of publishing The Little Train with new illustrations: ‘That would be an insult to an old friend who collaborated in the whole affair.’ In 1965, Greene wrote to Joan Reinhardt about a very inferior reprint of The Little Train. Three further letters in 1972, 1974 and 1979 concern issues such as the reversion of rights and royalty payments on the books. There is very extensive related correspondence by others dating from 1972 to 1992. There are also photocopies and typescripts of Greene’s two handwritten postcard stories, The Monster of Capri and The Monster’s Treasure, which were published some 20 years later. Charlie Chaplin’s autobiography was first published in 1964. Greene and Reinhardt worked together to secure the rights to this important work in the face of fierce competition from other publishers. Although negotiations with the film star had predated 1957, Greene was entrusted to send a telegram to Chaplin in September of that year together with the formal proposal. He also subsequently

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liaised with Ragnar Svanström, on behalf of Bodley Head, in order to secure foreign publishing rights in the Nordic countries. Among the papers, a typescript of the book (undated, but given as 1963 by the British Library) has an initialled note in Max Reinhardt’s hand, ‘First 533 typescript pages of Charlie Chaplin’s Autobiography corrected by Graham Greene.’ Beneath, in another hand, is added ‘[and others]’. The typescript has regular and sometimes extensive amendments and corrections, including improvements in expression, changes in word order, deletion of phrases and sometimes whole paragraphs, changes in chapter divisions and occasionally corrections to spelling. Much of this is recognizably in Greene’s hand. The file of correspondence charts the long process of bringing the book to publication and Greene’s role in this. The book was written in stages by Chaplin over a seven-year period with attendant delays and setbacks in the interim. In December 1960 Greene sent Reinhardt very detailed comments on the typescript of the still unfinished work. He had found the first 150 pages or so ‘admirable’ but the intensity of the story was then lost. Greene proposed cutting around 15,000 words, including sections of anecdote and unimportant episodes. The last letter from Greene to Chaplin in March 1962 stated that the first part of the autobiography ‘reads magnificently’, but that a date for publishing the whole book was now needed. There is a copy of Greene’s letter of 1962 in which he announced his intention to leave Heinemann. Following this decision his short story volume A Sense of

Reality became what was to be his second Bodley Head publication. Originally the collection was to have been titled ‘Under the Garden and Other Stories’ and have comprised three parts. Part One would have contained the four stories which eventually featured in A Sense of Reality; Part  2: five stories which were later published in the May We Borrow Your Husband collection, plus two others namely ‘Mr Conway’s Congress’ and ‘The Man Who Stole the Eiffel Tower’; Part 3: a further story, ‘Church Militant’ and the autobiographical fragment ‘The Revenge’. These items amounted to 75,000 words. Greene told Max Reinhardt in a letter of October 1962 that he intended to add further stories when they became available which implied that the projected collection would have been substantial. Correspondence concerning the book sheds light on the enduring influence of A. S. Frere who had worked so closely with Greene during his years at Heinemann. In a letter of 10 November Greene informed Reinhardt that Frere was dubious about the comedies in the collection being included in the same volume as the four, longer stories of more serious content which ultimately constituted the published work. A Sense of Reality was therefore a radically different publication than originally envisaged. The repercussions emanating from Greene’s decision to leave Heinemann were still evident some five years later. There are several letters dating from 1967 which refer to Greene’s dissatisfaction with various matters concerning the stock retained by his former publisher and with their pricing system. Friction 35

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between Heinemann and the Bodley Head was also starting to emerge over the various forthcoming joint publications of Greene’s Collected Works. The failure of the play Carving a Statue prompted Greene to include a short preface in the published copy entitled ‘Epitaph for a Play’. Part of the reason for his disenchantment with a medium he had once valued so much as a source of relief from the pressures of being a novelist stemmed from his unhappy experiences with rehearsals for Carving a Statue. He wrote to Reinhardt in late September 1964, ‘You can’t think how pleasant it is to be done with those ghastly rehearsals.’ The letter was accompanied by a typescript of his preface which included a deleted paragraph in which Greene mused further on the reasons for the failure of his play. The first indication to his publishers that Greene was working on his autobiography was made in a letter in May 1967 when he informed them that he had written 20,000 words of what was to become A Sort of Life. Over two years later, in October 1969, Greene wrote to Reinhardt that the first draft of the work would be finished by the end of November. Continuing indecision about the best way to present his life story was evident in a letter he wrote to Michael Korda, editor-in-chief of his American publisher Simon and Schuster in September 1970. He told Korda that he had written most of the introductions for the forthcoming Collected Edition which added up to 45,000 words. He wondered whether that might form the second part of his autobiography, ‘Originally when I began to write the introductions I thought of them as a kind of second part of the 36

autobiography, the first part ending more or less as it does and Part 2 dealing with the books.’ He added that he could see a good reason for not combining A Sort of Life and the collected introductions into a single volume, 90,000 word book. The following month he wrote again to Reinhardt stating that he was making final corrections to the manuscript. Typically, he expressed concerns that the public would find it ‘pretentious’ and at the same time suggested postponing publication until 1971 in order to leave a gap between Travels with My Aunt and his next novel, The Honorary Consul. There is a mass of correspondence concerning the publication of Travels with My Aunt in 1969, most of it dated 1969–71. About ten of the letters, on various matters, are from Greene. In June 1969 he wrote that the proposed blurb for the novel disclosed too much detail and suggested instead, ‘Graham Greene says of this novel: “One must occasionally escape from humour and write seriously.”’ There are references to ‘Mr Visconti’, a chapter published separately as a Christmas book in 1969, a typescript of Greene’s later introduction to the Collected Edition of the book and a programme of the 1992 Giles Havergal stage version of the novel at Wyndham’s Theatre, London. The file also contains an exchange of letters between Greene and Japanese author Shusaku Endo in 1970–1, in which Greene talked of the difficulty of getting an adequate translation of his work into Japanese. There is quite extensive correspondence, between 1968 and 1980, concerning An Impossible Woman, the book of memories of Dottoressa Moor published in 1975.

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Initially, there were issues concerning the recording of her memories and later the writing and editing of the memoir. There was also the question of Greene’s epilogue for the book and the matter of royalties, which were awarded to the Dottoressa’s daughter, and sales. A typescript of the first tape of the Dottoressa talking is in the file. Kenneth Macpherson wrote to Greene in November 1970 with comments on his approach and a rough draft for an opening chapter. There are 26 letters from Greene or his secretary, mainly to Max Reinhardt, giving some indication of his personal input to the book. In a letter to Hans Polak in October 1972, Greene wrote that he had started work on the material, ‘I’ve been roughing out and cutting and rearranging the pages, but I can see six months’ work ahead. I think one will have to write connecting links summarising the dull passages of the narrative so as to highlight the really funny and sometimes moving pieces. I am afraid Kenneth Macpherson’s work has not gone for much.’ Greene wrote to Reinhardt in May 1974 with the book ready for publication, ‘I had to do a good deal of writing in the last part. Finally I decided not to do the introduction but an epilogue, so as to fill the empty space left in her memories.’ Greene gave enthusiastic backing to a collection of his film reviews entitled The Pleasure-Dome edited by John Russell Taylor which was published in 1972, and in a letter to the journalist in March of that year promised to seek out typed copies of some of his work. This also prompted Greene to write to Reinhardt saying that he had been re-reading some of his book reviews and proposing a book

with the title ‘The Forgotten and the Unforgotten: Notes of a Novel Reviewer of the Thirties’. Contradictorily, in a letter setting out his ideas, he remarked that he had found his book reviews less funny and sometimes over-serious. Despite Reinhardt’s customary expression of interest the project was stillborn. There is a small collection of letters concerning the television adaptations of some of Greene’s short stories by Thames Television, broadcast in 1975–6 as Shades of Greene. Many concern the possible impact of a paperback edition of the chosen stories on the sales of the Collected Stories. In a letter in November 1974 Graham’s brother Hugh, who was involved with the Thames project, tried to persuade him to appear in a curtain-raiser for the series. The letter was successful. Four letters by Graham in March 1975 all concern the book versions of the televised stories. Another idea of Greene’s was to publish a book of essays entitled ‘Remembering’. Six articles, which variously recalled incidents and acquaintances from his past, appeared in the Daily Telegraph Magazine during the autumn of 1974. It was Reinhardt’s intention to publish the collection in 1976. Greene pledged to write more reminiscences of a similar kind to add to the existing ones. This never happened. Greene’s letters covered a range of matters. In October 1977 Greene referred to Alan Redway as ‘an honest and nice chap’, while later that year he had an exchange of letters with another bibliographer, R. A. Wobbe, who asked for Greene’s help. In March 1978 he sent Bernard Diederich very detailed 37

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comments on the proofs of his book on Trujillo, also informing Reinhardt. Later that year he wrote to Reinhardt about the diaries of a Yugoslavian Ambassador in Moscow. Sometimes Greene responded to pieces of journalism, writing to the New Yorker in April 1979 about the inaccuracies in Penelope Gilliatt’s piece on him. In April 1986 he told Reinhardt about an unpleasant article in Private Eye. A 25-page typescript of Greene’s exposé of organized crime in the south of France is included in a file of correspondence with dates ranging from 1982 to 1989 all relating to the publication of J’Accuse. In January 1988 Greene wrote to Reinhardt querying a list in which J’Accuse was categorized as ‘autobiography’ and suggesting it should be described instead as an ‘essay’. In another letter he referred obliquely to the part President Mitterrand had played in Greene’s campaign. He told Reinhardt that he had been invited by Mitterrand to attend the Bastille Day celebrations, adding that he would decline at the last moment but that the invitation ‘shows he is on our side’. He also told Reinhardt that he did not want J’Accuse re-published because it had achieved its purpose. Mary Connell was an American poet with whom Greene had an amusing correspondence over many years. In December 1982 Max Reinhardt wrote to Connell to follow up Greene’s suggestion of a small book of her poems to be published in the UK. A long series of letters between the two ensued, over several years, with Max’s wife Joan eventually taking over the project. Connell claimed that she was Greene’s 38

biggest fan and came across as witty and quirky. Greene had a say in the selection of poems for the anthology, and in the only letter from him in the file, wrote to Max Reinhardt in March 1985 offering to take over the project since it was taking so long. The book, dedicated to Greene, was eventually published in 1986 entitled Help is on the Way. Greene wrote a short preface. A holograph and a typescript copy of the preface are in the file. The Tenth Man was originally written as the basis for an MGM film in 1944 but not published until 1985. There is a 101page ‘file copy’ of the film story marked ‘Copied by Metro-Goldwyn-Mayer Script Department 7–14–45’. The remaining materials concern the later publication of the novel, mostly including letters to be found in other archives. In May 1983 Greene’s agent Gerald Pollinger heard about the novel for the first time and in the following month Greene wrote to him expressing puzzlement at the discovery of the story. In February 1984 he told his Swiss lawyer Jean-Felix Paschoud that he had completely forgotten the story. Two letters from Greene to Pollinger in August 1983 pursued the issue of the purchase of the story by Anthony Blond and the matter of ownership of the rights. In 1985 Greene wrote to Max Reinhardt about earnings from the published book and in 1986 he commended the ‘admirable and eye-catching’ book jacket. The book of Greene’s letters to the Press, Yours Etc., selected and introduced by Christopher Hawtree, was published in 1989. Letters and other material show the process of selection and compilation for a book originally to be called ‘Dear Sir’. In February 1989 Hawtree wrote

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to Elizabeth Bowes Lyon at publishers Max Reinhardt to ask if material from the J’Accuse controversy could be included. A handwritten note in the margin suggested deleting some pages. There are indications of Greene’s involvement in the book. In June 1989 he sent Hawtree a relevant cutting he may have missed and there are undated notes in Greene’s hand commenting on particular pages of a draft of the book. A handwritten list of all the letters in the book has two small sheets stapled to it, with ‘Goats’ and ‘Sheep’ written in Greene’s hand. Most of the remainder of the file concerns publication issues and there are extensive press cuttings and reviews. Material concerning Greene’s last novel The Captain and the Enemy, dated 1987–93, covers issues such as contracts, editions, translations, rights and reviews. A memorandum from Penguin in 1988 stated that Greene did not want his novels to be submitted for the Booker Prize. A letter from Greene to Reinhardt in February 1988 expressed concern over the matter of age in the first sentence of the novel. There is a photocopy of Greene’s ‘Apologia’, which he originally intended to have published with the novel. Undated notes by Greene and a letter from Reinhardt to Gerald Pollinger in March 1988 confirm that he changed his mind at a late stage. There is another note from Greene on further changes to the novel and comments from others regarding inconsistencies in the text together with proof queries and corrections. The Broken Commandment, the first novel of Irish writer Vincent McDonnell, was published in 1988 on Greene’s

initiative. In 1989, Greene recommended it for the Sunday Express Book of the Year. Again at Greene’s prompting, now as the prize adjudicator, the book won McDonnell £20,000 at the GPA literary awards in Dublin in 1989. Copious correspondence and other material put flesh on this story. The novel had been rejected by seven publishers when McDonnell’s wife sent Greene the manuscript to consider. Greene liked it and eventually persuaded Max Reinhardt to publish. When Greene got involved in the GPA literary awards – a most unusual involvement for him – he gave the main prize to John Banville, but ensured that his protégé was given a special award for a first novel. He met McDonnell during and after the awards ceremony in November 1989. In the file is a letter from Greene to Reinhardt enclosing Joan McDonnell’s ten-page letter and referring to McDonnell as ‘perhaps a genius but not an easy one. All the same you are right to publish’. There is also a photocopy of Greene’s holograph quotation for use on the book’s dust jacket: ‘Sad, frightening, merciless – and unforgettable.’ Greene played an active role in the selection and preparation of Reflections, his last book to be published in his lifetime. The collection of some 70 pieces by Greene, selected and introduced by Judith Adamson, appeared in 1990; an expanded second edition was published in 2014. Material in the file covers the usual range of publishing issues and reviews of the book. The correspondence includes many exchanges between Judith Adamson and Elizabeth Bowes Lyon at Reinhardt. Two letters from Greene in November 1990 show his satisfaction with the book. 39

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One, to Peter Carson at Penguin Books, stated that he would like Reflections to be included in the Twentieth Century Classics list, but not his latest collection of short stories, The Last Word and Other Stories, also published that year. There is also evidence of Greene’s personal role in selecting individual pieces for the book. In February 1990 he wrote to Reinhardt suggesting ‘In the Kremlin’, his address in Moscow in 1987, for inclusion. A note in the file also lists material removed by Greene and Reinhardt in July 1989: nine pieces included ‘Ashridge Park; “That Goodly Place”’, first published in The Times in 1927 and an unpublished poem, ‘The Ritz’, dated 1976. In April 1989, with his customary close attention to detail, he wrote to Adamson, ‘I have agreed to the title, “People and Events” – although for me it is not as euphonic as People, Places and Events.’ As the 1980s drew to a close Greene became increasingly anxious about the research being undertaken by Anthony Mockler. In one letter to Reinhardt he asked his friend to suggest tactics which could be used to obstruct the biographer. He wrote angrily to Mockler himself in July 1987 in a letter covered in the section on Boston College. It is clear that changes in the world of publishing, with which Greene had been intimately involved for so long, affected him personally during the last couple of years of his life. A three-way battle between what had been the independent firms of Heinemann, the Bodley Head and Penguin caused him to write to Max Reinhardt in February 1990 in an effort to clarify what was becoming an 40

increasingly complex matter over who controlled his work. He wrote, ‘I wish Penguin and Reinhardt to buy back the rights to both Heinemann and Bodley Head titles and I wish to see them continue to be re-published by Penguin in paperback form.’ Manuscript and typescript copies of a letter to an unnamed editor, dated June or July 1990 and titled ‘Morality in Publishing’, sounded a valedictory note for a lost world. Greene wrote, ‘For an author a personal relationship with his publisher is far more important than the monetary one. He expects to be treated as a partner and not as a piece of goods to be sold or re-sold without his consent.’ Extracts from Greene’s dream diary A World of My Own were published in 1992 with a foreword by Yvonne Cloetta and an introduction by Greene. Much of the mass of material shows the important role Cloetta played in controlling publication of the diaries and of Greene’s niece Louise Dennys in the preparation of the book. There is a corrected typescript with annotations by Dennys; she also sent lengthy comments to Cloetta and Reinhardt in February 1992. There are photocopies of Greene’s handwritten list of chapters for the diary extracts and of a half page of text in his hand together with two other pages of comments and text. There is correspondence concerning the publication of the book involving Cloetta, Dennys, Reinhardt and Greene’s son and there are reviews and articles from 1992.

Ralph Richardson The writer’s relationship with Ralph Richardson was marred in 1964 when Greene heavily criticized the actor’s

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interpretation of the part of the Father in Carving a Statue during the play’s short pre-West End run in Brighton. This collection includes Greene’s well-known letter, written in fury in the heat of the moment, in which among other things he accused Richardson of being egotistical and of failing properly to interpret the part through lack of literary nous. Also included is a second, undated letter in which Greene adopted a more conciliatory tone, ‘.  .  . let’s regard each other with jaundiced but affectionate eyes. I have been an old bastard – but so have you been’.

Roger Sharrock Professor Roger Sharrock’s long and distinguished academic career included a spell as professor of English Language and Literature at King’s College London. During that time he supervised the doctorate of Father Durán who in turn introduced him to Greene. The correspondence consists of over twenty letters by Greene written over the period 1978–90 and provides an intriguing insight into the writer’s thoughts and opinions on his own work and other literary matters during the latter stages of his life. An early letter in 1980 made reference to the first chapter of what later became the novel Monsignor Quixote. Greene’s letter expressed doubt as to whether this opening for a novel would ever develop but nevertheless hinted, ‘my next voyage to Spain with Leopoldo [Durán] may give the necessary impetus’. By 1983–4 the author was preoccupied with completing Getting to Know the General. He told Sharrock in August 1983 that he had just returned from his

cottage in Anacapri after a fortnight ‘of stifling heat’ during which he had managed to write some 2000 words. He was left with the ‘most tricky’ task of completing the last chapter which would deal with the situation in Panama following the death of General Torrijos. By the following January he reported that he had just finished revising the second typescript of the completed book; he had been ‘very doubtful’ but thought that it was now publishable. An article published by Sharrock in 1987 on Greene’s plays prompted the latter to comment on two of his most popular works in that genre, The Living Room and The Potting Shed. Greene dismissed the latter as the play ‘I like least’ and he corrected Sharrock’s description of Dorothy Tutin, who played the leading character of Rose in the first production, as a ‘distinguished’ actress, reminding him that she had made only one appearance previously in a minor Shakespearean role. He revealed that ‘Regal Court’, where Rose and her lover Michael propose to meet, was based on a ‘big, clean hotel’ in Oxford Street where, in the interwar years, ‘you could take a room with kitchen for an afternoon without pretence of having luggage’. Twice in 1987 Greene mentioned A House of Reputation as an ongoing project. In June he expressed doubt as to whether an agent ‘would be able to place it’ as the play required a sizeable cast of twelve. However, by December Greene was referring to it as his ‘last significant play’ and confidently reported that although he had not yet found a producer, ‘it will be published anyway sometime in the New Year’. 41

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Greene offered his views, often quite pithily, on a range of writers both past and present. Thus he found the seventeenthcentury poet Andrew Marvell ‘evasive’ in a way that contrasted poorly with the ‘directness’ of John Wilmot, the subject of Greene’s biography Lord Rochester’s Monkey. Elsewhere, in an appreciation of one of Roger Sharrock’s essays, he stated that he had never liked Robert Lowell’s poetry and although he enjoyed a good deal of Philip Larkin’s work, ‘his selfconscious philistinism often irritates me’. He was admiring of the novelists Patrick Hamilton, Shusako Endo and some of the works of Thomas Mann but considered Iris Murdoch ‘a closed book for me’. Central to the rapport which was established between the celebrated novelist and the university professor was Sharrock’s book of literary criticism Saints, Sinners and Comedians: The Novels of Graham Greene. Greene was highly appreciative of what he called ‘easily the best critical study that has ever been published of my work and what is more, though I usually flinch with boredom at such works, I found yours immensely readable and even at moments exciting’. The publication of Sharrock’s book came as something of a relief as Greene admitted he was dreading the appearance of the first volume of Norman Sherry’s biography and the fact that a second biographer, Anthony Mockler, ‘is busy on one too’. Both men avoided references to declining health until near the end. In Greene’s last letter in August 1990 he wrote that he was sorry to hear that Sharrock had been unwell and apologized for the delay in answering his letter, ‘but I 42

have been travelling because of sickness!’ Roger Sharrock was to die in December of that year followed shortly by Greene himself.

Kenneth Tynan Two letters to Kenneth Tynan in 1969 reject the theatre critic’s offer to contribute to an anthology described as ‘self-addressed pornography’ to be titled ‘Myself Alone’. In both letters Greene dismissed the concept as childish. Tynan later abandoned the idea.

Evelyn Waugh There are over 50 communications from Greene to his friend and fellow writer Evelyn Waugh which date from 1945 until the early 1960s. The subject matter frequently concerns critical comments on each other’s work although the closeness and importance of their personal relationship is also evident in several places. Greene’s perennial restlessness is apparent in a letter written in 1947. He told Waugh that he wanted to visit both Kenya and Ireland; he did not want to remain at home ‘to be atomised’  – presumably a reference to the then perilous state of international affairs. A year later, in receipt of a letter from Waugh which had praised The Heart of the Matter, he told his friend that his remarks had made him ‘very conceited’ and that there was no one from whom he would rather receive criticism. However he argued against Waugh’s notion that Scobie was a saint adding, ‘his offering his damnation up was intended to show how muddled a mind full of good will could become when once off the rails’.

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In other letters written during the decade following the Second World War Greene made positive comments about Waugh’s works particularly Helena and Men at Arms. The latter book caused him to comment in October 1952, ‘It rains most of the time on Capri and Catherine is ill with bronchitis and I am 48 today – and I don’t like any of those incontrovertible facts. But I do like Men at Arms.’ In the early 1950s Greene’s fragile mental state appeared to be exacerbated by his turbulent relationship with Catherine Walston. This is evident in a letter written in August 1951. Clearly delighted to be asked to stay at Waugh’s house he warned, rather ominously, that he and Catherine were ‘drinkers not eaters’. In another undated letter he thanked Waugh for his company, writing, ‘I enjoyed myself with you so much and you eased what would have been a very bad period for me.’ Two letters, both written in 1961 in the wake of the publication of A Burnt-Out Case which Waugh had refused to review, point to the differences between the two writers in interpreting the text. After Waugh had drawn some autobiographical parallels, Greene suggested that he should re-read the final conversation between the doctor and Querry, ‘you will find . . . the suggestion that Querry’s lack of faith at the end was a very superficial one  – far more superficial than the doctor’s atheism. If people are so impetuous as to regard this book as a recantation of faith, I cannot help it’.

Personal Diaries There are two personal diaries. ‘Volume 1’ dates from 1985 and is a record of Greene’s sixth visit to Panama. He was

reluctant to return to a country he knew so well, ‘It feels like a return to one’s past, or with nothing else to find taking up a book one put down which one doesn’t like and which one remembers too well the first reading.’ Once in Panama, his diary recorded driving around with the President’s aide Chuchu, meals in restaurants such as his favourite Lobster Inn, thoughts about the poverty of the country, his dreams and missing Yvonne. Clearly, Greene was preoccupied with writing his novel The Captain and the Enemy which by that time had been in preparation for the best part of a decade. He used the diary as a form of aide-memoire; relevant entries were often placed in brackets or written using a different ink, for example, ‘Does the Captain write a first letter to Liza believing she is still alive . . .?’ ‘Volume 2’ is contained in a plain, hard-backed diary for 1982 and although dated 1986–7 includes a 1984 visit to Panama. In addition to Panama it covers journeys made to Nicaragua, Russia and Spain. The title page reads, ‘A few final journeys . . . This diary is given to Yvonne Cloetta in the event of my death with all my love, Antibes, March 6, 1987.’ Greene was reluctant to visit Panama in 1984 as he was to be the following year. He found the 16½ hours of flying time gruelling and attributed to age the fear that he might never return or see Yvonne again. His seeming preoccupation with his own mortality was also evident in an entry for 4 December when he recorded that he had been busy all day working on the last act of his play A House of Reputation which he somewhat morbidly described as ‘something to leave behind 43

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although insufficiently revised’. He also had taken with him the last chapter of The Captain and the Enemy as he hoped to find inspiration for the ending while in Panama. However, age had in no way blunted his familiar acerbity. He noted in a later entry that when asked by a rude American who he was he had replied immediately, ‘Hilary Trench’. He also recorded his visit to Moscow in February 1987, one of three he made in 1986–7. He had been invited to a wellpublicized international peace conference. Greene gave a short speech at the event attended by some 1300 people including President Gorbachev, an experience he found both ‘interesting and intimidating’. He flew back to Britain from the Russian capital to be at the bedside of his brother Hugh who was dying. He described seeing his younger sibling in a coma, breathing heavily, ‘The sight and sound haunted me’, adding bluntly, ‘He died out of turn.’ GRAHAM GREENE MISCELLANY

As the title implies, the ‘Miscellany’ includes a range of material which Greene had been working on during the last decade or so of his life. For example there are a variety of items concerning American foreign policy in Central America, dated 1988, including a small handwritten note by Greene. A map of Panama with some marginalia by the author and a few locations circled relate to one of his visits to the country. A second map, dated 1940, shows the town of Santiago de Cuba at the western end of the island. It seems likely that this map 44

dates from Greene’s visit in 1957 during early efforts to meet with the rebel leader Fidel Castro. There is an eight-page typescript synopsis for a ‘Television Film Special’ to be called ‘The Marquis de Bolibar’ which was subsequently never made. This was to have been in collaboration with the television and film director Peter Duffell. The setting was envisaged as a fictitious town in Asturias, Northern Spain, called La Bisbal. The period drama would have featured disguises, deception, a mysterious Marquis, a beautiful woman and a violent climax. The first draft of the novel The Captain and the Enemy comprises some 176 pages. The first 140 pages are in typescript with the writer’s amendments. Any alterations by Greene are made in black or blue ink; these mainly consist of additional phrases but sometimes complete sentences.

University of London KING’S COLLEGE LONDON ADAM INTERNATIONAL REVIEW

The review was a quarterly literary magazine, published in English and French, its title an acronym for Arts, Drama, Architecture and Music. It was edited by Romanian-born Miron Grindea from 1941 until his death in 1995. There are 41 items relating to Greene, not in chronological order. There is the three-page manuscript of Greene’s original review of Richard Aldington’s Pinorman, his 1954 book on Norman Douglas, with additions and corrections, and details at the

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top concerning legal issues. A fuller typescript of the review, published in 1966, is also in the archive and has an introductory note explaining why the review was not originally published in the London Magazine as it was considered libellous. Greene and Grindea’s correspondence runs from 1964 to 1984. Some concern raising money for the magazine. Greene tried to get a contribution from a Lady Hutton, and donated the manuscript and typescript of his Pinorman review. Many letters cover other literary matters. Greene had to plead pressure of work in not being able to contribute a piece on Simenon or Cyril Connolly. In 1981 Greene agreed to write a preface to a new edition of Grindea’s anthology of writing on Jerusalem. There are exchanges in 1981 and 1982 about Greene not getting the Nobel Prize; Grindea strongly believed he should have done. In 1984 Greene was flattered and grateful for an edition of the magazine entirely devoted to him on his eightieth birthday. In the same year he apologized to Grindea for having been abrupt on the telephone, adding, ‘An 80th birthday is a nightmare. I am glad you were able to see Anita in Stockholm.’ The tone of the letters is very friendly, Greene signing himself ‘Graham’. There are a few letters from Elisabeth Dennys, an exchange of letters with a Professor Rinsler about the Greene/ Grindea correspondence and some photographs of Greene. Copies of ADAM magazine in the archive include Greene’s article ‘Return of the Novelist’, his introduction to England Made Me and the eightieth birthday issue.

SENATE HOUSE LIBRARY, LONDON UNIVERSITY GERALD DUCKWORTH AND CO. LTD

There are two letters from Greene to the publishers. The first, from May 1937, introduces the new publication Night and Day – ‘Modelled to some extent on The New Yorker’, aimed at ‘a sophisticated and literary public .  .  . its main appeal will be humorous [but with some] serious criticism’. The second, from Greene at Eyre & Spottiswoode in April 1944, concerns a book by ‘Bevis’. UNIVERSITY COLLEGE LONDON GEORGE ORWELL ARCHIVE

There are three letters from Greene to Orwell, on Eyre & Spottiswoode notepaper dated 1945, about Orwell choosing a suitable novel by Leonard Merrick for the Century Library series. Orwell chose The Position of Peggy Harper, and Greene asked him to write an introduction to it. VICTORIA AND ALBERT MUSEUM: THEATRE COLLECTIONS SIR MICHAEL REDGRAVE ARCHIVE

There are two letters from Greene to Redgrave. The first, from February 1957, comments on the filming of The Quiet American, in which Redgrave starred  – ‘Terrible reports of the changes made reach me from Saigon .  .  . some people blame me more than Mankewitz for allowing it.’ The second, from 1958, has comments about Greene’s The Potting Shed and Redgrave’s latest play. 45

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Manchester UNIVERSITY OF MANCHESTER THE BASIL DEAN ARCHIVE

Basil Dean was a highly successful theatrical impresario and film producer. This archive includes correspondence and manuscripts relating to two collaborations he undertook with Greene, one in the late 1930s and the other in 1949–50. Neither was successful. The first was a film adaptation of John Galsworthy’s short story ‘The First and the Last’. Dean had produced a stage version in 1921 and later acquired filming rights. By the time the project was under way, Galsworthy himself was dead and his widow Ada was in control of the estate. As well as the correspondence between Greene and Dean, the archive has the relevant letters which passed between Ada Galsworthy and Dean. The pertinent Memorandum of Agreement is also included. There were fundamental problems with adapting Galsworthy’s story for the screen. The story focused on a double suicide and the portrayal of such an event was forbidden at the time by the film censors. Moreover, an innocent man’s conviction for murder would have been regarded as unacceptable by the film-going public. Greene, who initially showed his enthusiasm for the story in a letter to Dean in May 1936, proposed changes which would not affect the integrity of the themes or the characters. However, there was a lengthy delay before he summarized his proposals for the script in a three-page memorandum sent to Dean in June 1937.

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The resulting film was titled TwentyOne Days, the change of name reluctantly agreed to by Ada Galsworthy. Greene was very unhappy with the resulting production which Dean directed and sought to distance himself by having his name removed from the credits. In November 1938 he asked Dean to do so on the grounds that his contract was with him and not with the film’s producer Alexander Korda. Dean’s reply was evasive and Greene’s name remained on the credits. Despite this less than satisfactory experience, Greene and Dean corresponded regularly and amicably between August 1938 and March 1939 with regard to further collaboration. In a letter of August 1938 Basil Dean suggested working jointly on a stage thriller. He would provide assistance with construction but otherwise Greene would have a free hand. Greene replied affirmatively and gradually a plotline developed from one with traditional fairytale elements involving the disappearance of two children to a story of Britain coming under the control of the ‘Reds’. Dean replied both constructively and critically at each stage but no agreement was reached. Traces of the ideas exchanged emerged soon afterwards in Greene’s short story ‘The Lieutenant Died Last’. Greene’s failure to arrive at a suitable theme for a stage thriller did not deter the two men from agreeing to work together again in the summer of 1949 in a stage adaptation of The Heart of the Matter. The resulting production opened in February 1950 in Boston, Massachusetts, and was an abject failure. The archive includes a number of letters, telegrams and notes passed

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between Greene and Dean between June 1949 and July 1950. Additionally, there is correspondence from Alec Guinness, Oscar Hammerstein and Greene’s agent Laurence Pollinger relating to the project plus two versions of the ill-fated play script, one dated February 1950, the other May–June 1950. Finally there are copies of the Agreement relating separately to the US production of the play and to any future UK production, both dated November 1949, and reviews of the performances at the Wilbur Theatre, Boston. Greene’s letters to Dean in the period June–October 1949 suggest that he was burdened with a particularly heavy workload and distracted by other events. In one letter, he reported that he was ‘staggering with benzedrine’ having just returned home. He condemned the proposed West African costumes for the play as unsuitable and suggested employing his erstwhile mistress Dorothy Glover as designer. However, by the end of the year he was busy with technical details  – getting the wording right to be used by the priest before the Roman Catholic Act of Confession and seeking information concerning suitable priest’s robes. In January, with the date of the production fast approaching, the difficulties of reconciling Scobie’s inner dilemma, which worked so well in novel form, with the need to engage a theatre audience were becoming apparent. Clearly Greene was anxious to retain the integrity of his work and of his central character in particular. In a letter dated January 1950 he criticized some changes proposed by Dean as making the play ‘a

religious melodrama’; he wanted to avoid Scobie being portrayed as ‘self-pitying’. Less than three weeks before the opening night Greene felt the need to travel by sea to America in order to assist the director with the final stages of rehearsal. In the aftermath of the play’s very poor reception, the premature termination of its initial run and the withdrawal of Rodgers and Hammerstein as prestigious producers, there was a notable lack of communication on the part of Greene. Finally, he wrote to Dean in late July 1950 refusing to agree to any revival of the play. He condemned Dean’s revised version of the script claiming that it ‘sentimentally travestied’ his work. The correspondence ended abruptly thereafter. The first of the two typescript copies of the play scripts, marked ‘Original Version’, include extensive additional stage directions written in red pencil in Dean’s hand with a few changed passages of text in blue ink. It is in three acts. This version varies significantly from the original novel, particularly with regard to the first and last scene. No doubt Dean’s ideas were an attempt to convey a more contemporary mood in contrast to Greene’s traditional staging plan for what was his first theatrical production.

Norwich, Norfolk UNIVERSITY OF EAST ANGLIA THE CHARLES PICK ARCHIVE

Charles Pick started work in publishing at the age of 16 with Victor Gollancz, and retired in 1985 as managing director of William Heinemann and the Heinemann 47

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Group of Publishers. The collection of his papers includes files relating to individual authors, including Greene, and the publishing files of Michael Joseph Ltd, William Heinemann Ltd, the Heinemann Group and its parent company Thomas Tilling Ltd. Charles Pick’s unpublished dictated memoirs from around 1990, also in the archive, include a chapter entitled ‘The Graham Greene Problem’. The topics covered in both the ‘Authors’ and the ‘Publishing’ correspondence include a range of publishing issues  – rights, royalties, licences, agreed sales figures, copyright, jackets, stock and agreements between publishers. Greene demonstrated his familiar keen interest in the management of his books. In a letter of April 1954, he complained about the Pan jacket, and the Vanguard edition of The Power and the Glory. When the BBC began a serial with the title The Third Man, Greene wrote to Pick in March 1963, ‘I object violently to any reference to the BBC serial which had no connection whatever with my work except that they were given permission to use the name Harry Lime.’ In June 1967 Greene complained that sales figures from Heinemann were not good, and that this was because they were not making any effort. In a long letter to Heinemann’s A.S. Frere, in October 1962, Greene explained his decision to leave the company. ‘You have been my publisher for more than thirty years and my greatest friend for close on twenty years’, Greene wrote; but Frere’s own changed position at Heinemann meant that ‘I could no longer depend on you to look after my work’; this was no reflection on Frere or on their friendship, 48

but on the new lack of personal contact for Greene now ‘in a company of whom the directors are nearly all unknown to me’. Letters between Greene, Frere and Lionel Fraser of Heinemann from 1961 give some background to Greene’s decision. Greene moved to Bodley Head, of which he was a director. By 1965 Greene was writing to Sir Geoffrey Eley of Thomas Tilling asking how much it would cost to buy back his copyright in order to form a collected edition under one imprint; his request was refused. Wrangles with Heinemann continued, and are reflected in the correspondence; in a letter of September 1965 Heinemann’s Chairman, Peter Rider, referred to Greene as impossible. By 1968 there was agreement on a Collected Edition of Greene’s works to be published jointly by Heinemann and Bodley Head; a letter dated June 1968 from Pick to Greene’s literary agent Laurence Pollinger gave details of the arrangements and the share in profits and distribution. Much of the correspondence from August 1967 onwards concerns this project.

Oxford, Oxfordshire THE BODLEIAN LIBRARY CORRESPONDENCE OF GRAHAM GREENE MAINLY WITH JOHN AND GILLIAN SUTRO 1953–89

John and Gillian Sutro had a long and close friendship with Greene for some 40  years. He had first met the couple in 1947 in Rome through the film director Mario Soldati with whom Gillian had an affair but it was 1953 before a proper

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relationship developed. John Sutro’s association was professional as well as social for a time but he is probably best remembered for his collaboration with the writer in forming the Anglo-Texan and the John Gordon Societies, both in the 1950s. Gillian Sutro’s relationship with Greene was more complex. Although by her own admission she was promiscuous with her husband’s friends, her relationship with the writer was not sexual though she was clearly fascinated by him and by his life. The letters he wrote to either or to both of them were carefully preserved, and in many instances transcribed and annotated by Gillian. She also kept a written record of meetings and telephone conversations after the Sutros moved to Monaco and there was less need for correspondence. Through this series of letters one can trace how the writer, after a particularly turbulent period in his personal life, achieved greater stability and a measure of contentment in the South of France from the mid-1960s onwards. Clearly he greatly valued and trusted the Sutros, needed their company and, as he frequently reminded her, craved Gillian’s Shepherd’s Pie. Greene wrote practically 200 letters and postcards to the Sutros between 1953 and John’s death in 1985. The two earliest letters in the collection relate to the visit to Edinburgh made by John Sutro and Greene in 1953 that led to the formation of the AngloTexan Society which is described in more detail below. The John Gordon Society, which is frequently paired with the Texan society as examples of Greene’s predilection for practical jokes, had a more serious intent  – to draw attention to the restrictions imposed on writers by

the existing obscenity laws. Included is Greene’s letter to Leonard Russell, editor of The Sunday Times, in which he denied John Gordon’s claim that by choosing Vladimir Nabokov’s novel Lolita as one of his books of the year he was mocking Russell’s newspaper. Greene wrote that as a former publisher, apart from two sentences, he would have had no hesitation in publishing what he considered to be one of the most amusing and interesting novels of the last decade. The course of the ensuing argument between Gordon and Greene and the formation of the society is again described below. There are several letters dating from the 1950s which refer to prospective business ventures involving the writer and John Sutro. According to Gillian these were not generally successful. In late 1956 they decided to promote a play by Kenneth Allott entitled The Publican’s Story. Greene was unhappy with the ending in particular and suggested changes that might be made. Despite quite advanced discussions about casting and direction the project petered out without resolution. Greene’s personal life during the period 1956–9 was particularly unsettled. His relationship with Catherine Walston was coming to an end; concurrently he had become deeply involved with Anita Björk while towards the end of this time he first met Yvonne Cloetta. The Sutros, with whom clearly he shared intimate details about these relationships, seem to have provided a good deal of support as the relevant correspondence illustrates. For example, in February 1956 he wrote to Gillian, ‘I’m afraid I was on my last legs temporarily, but as usual with you 49

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and John I came away feeling that the legs would carry me a bit further.’ Catherine Walston took the initiative to end her decade-long liaison with the writer in December 1957. Greene wrote from his daughter’s ranch in Alberta to Gillian that Catherine had decided that owing to his affair with Anita Björk he was, ‘being too torn in two and getting burnt up by it’. He took full responsibility for the unhappy state of affairs. Spending time with his daughter clearly allowed Greene to reflect on his two children who were both in their twenties. He found Lucy [Caroline] ‘well and happy and most of the fears Vivien instilled into me seem fictitious’. He was optimistic too about his son about whom he wrote, ‘seems to see life opening up more’. On the other hand, Greene’s own prospects for his future life with Anita appeared less attractive, ‘I see nothing for me really but a house near Stockholm. She’s a sweet girl to sleep with, but she’s not, alas, Catherine.’ He ended the letter by acknowledging his debt to his two friends, ‘I miss you both. I don’t know how I’d have kept sane the last two years without you.’ A fortnight later Greene wrote again to Gillian. This time the tone of the letter is more considered, even dispassionate, about his relationships with Catherine and Anita. He considered Catherine to be ‘a far better Catholic’ than he who deserved a better life without him. He had decided not to try to persuade Anita to leave Sweden; his original intention had been to settle with her in the South of France. He wrote, ‘. . . it would be worse to take her away from her own place and force her to give up the theatre’. 50

Unfortunately, the following year did not bring relief from the pressures of life. In April 1958 he was apologizing for his bad behaviour the previous evening while in July he wrote to John Sutro quite desperately, ‘I’d die without a holiday.’ He had finished ‘the damned book’, Our Man in Havana, had seen The Potting Shed through its London premiere and had written half of a further play, presumably The Complaisant Lover. Five months later he seemed to have reached a personal nadir when he wrote to them both from Havana somewhat erratically, ‘Find Havana alone boring and a disinclination to debauchery. Old age or the complications of life? Feel a bit gloomy as C. has left me. Who can blame her? I wish I was back in Europe. A quite different sort of mix-up beginning here. The stupid things one does when bored.’ Greene’s mood seemed to have lifted by the beginning of 1959, writing to John that he hoped to have his next novel finished by the middle of the year when he would be ready to start work on a collaboration to film England Made Me. He added, ‘I feel the incest motive should be a little more emphatic and win us an X-certificate.’ His hectic lifestyle, seemingly driven by the constant requirement to avoid boredom, is illustrated by references in this letter to Lord Douglas’ invitation to join him on the inaugural flight of the Comet airliner to Moscow and the prospect of obtaining the hallucinogenic drug Mescaline from ‘an attractive girl’ in San Francisco. Greene left for the Congo in February 1959, a trip which was to provide the inspiration for A Burnt-Out Case and, unexpectedly, result in his first encounter with Yvonne Cloetta in Douala,

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Cameroon, the following month. Towards the end of his visit to the leprosy clinics he wrote a lengthy letter to Gillian from aboard a river steamer. He was tired of ‘being jolly in French with priests, of heat and sweat and unsatisfactory douches’. At that point he was unsure whether or not the trip had served any purpose other than ‘shaking Anita out of the system’. He made reference to A Burnt-Out Case, ‘The book is changing a lot, my besetting sin of “story” is creeping in, and anyway in my time I’ve abandoned four novels and perhaps this is the fifth: “Across the Border”, “Fanatic Arabia”, “Lucius”  – I can’t remember the title of the other.’ The writer’s lengthy visit to Tahiti with Michael Meyer in late 1959 and early 1960 did not begin auspiciously. In early postcards to the Sutros he confessed to not enjoying himself and was thinking of returning home. By January 1960 the mood had changed; he had enjoyed mastering snorkelling and was reluctant to leave. Generally, his letters to the Sutros during 1960 sound a more optimistic note. The writer’s enthusiasm for making a film of England Made Me resumed in the summer of that year. Two letters refer to the project. He sent John to Stockholm to discuss with Anita Björk the leading role of Kate Farrant. Having confirmed that she was willing to play the part, ‘if all goes well’, Greene wrote again to Sutro, disagreeing with his choice of a prospective director and asserting that he wanted the best possible script to be written and committing himself to assisting if necessary. The project did not materialize. He wrote another letter to John from Paris in July 1960 the content of which

is probably the most upbeat in the entire collection. This mood was no doubt prompted by his new liaison with Yvonne Cloetta as he hinted in his remark, ‘I got off to the Côte for three majestic days.’ A recent medical examination was optimistic in outcome while settlement of his financial matters in Lausanne had left him relieved as, ‘My treasure box is now sadly depleted!’ Perhaps most telling of all was the response to A Burnt-Out Case of A. S. Frere, who had called the novel possibly Greene’s best. According to Gillian Sutro, Greene respected Frere’s critical views of his work above all others. In direct contrast to the above is a letter Greene wrote in January 1966. In this instance he grumbled about the weather, changes to the letter addressing system in France and having to be involved with the filming of The Comedians which involved mixing with ‘horrible film people’. Moreover, he had been interviewed by J. W. Lambert whose ensuing article contained both errors and remarks taken out of context. Finally Lord Snowdon had recently published a ‘melancholy’ set of photographs of him. He visited Cordoba, Argentina, in April 1970. His letter to Gillian took delight in seeing the funny side of his reputation for seeking out the world’s trouble spots. He wrote, ‘I came on a murdered man in a field, there was a bishop arrested, a priest excommunicated, a whole family committed suicide opposite the hotel by driving their car into the Parana, all in eight days. And the buggers had stolen the plot of the novel I was planning. I don’t mind things happening after publication, but when they happen before I’ve even started writing. . . .’ 51

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The same year he told Gillian that she was ‘a goose’ for thinking that his lack of letters signalled a cooling in their relationship. In the course of an uncharacteristically long and chatty letter Greene told her that he loved her as much as ever but that he wrote for a living and the physical act of writing hurt his hand. He added, in a significant reference to a settled existence, that he now lived a more quiet life. In 1972 he wrote to Gillian again excusing the lack of letters and the fact that the one he had written had been dictated, adding, ‘I seem to have time for nothing these days except worrying about the novel and an introduction I have to do for Gunnar Hagglof’s book.’ Greene’s letters in this period make frequent references to John’s health which seemed to have been seriously affected by bouts of depression as well as intense and uncontrollable tantrums. In October 1968 he wrote to Gillian trying to persuade the couple not to move to Monaco principally on account of the difficulties of providing the right health care for John but also citing the fact that without a car they would become isolated. John Sutro’s condition was exacerbated by the stress caused by a long-running legal case brought against him. Greene offered both encouragement and advice as a friend during this period. The Sutros moved to Monte Carlo in 1974 and thereafter the written communications become less frequent and detailed although Greene continued to write during his travels abroad. For example, he wrote prior to a six-week visit to South Africa. He expressed hope that the Afrikaans judge with whom he would 52

be staying would prove to be liberal in outlook and advising that he would have to be careful regarding what he wrote and what he said on the telephone as South Africa had become a police state. John Sutro died in 1985. Greene’s letter of commiseration was tender but unsentimental. He offered to meet Gillian, he referred to recent dreams about John and answered her practical questions about her collection of his letters he had sent over the years. He even suggested that in time they might be profitably sold to Georgetown University. The remainder of this collection comprises a number of undated letters including one by Kim Philby to Greene in which he mentioned John le Carré and the incorrect assumption he was expressing publicly that the two friends were in regular contact. He also gave his opinion of Henry James and some negative views on contemporary literary criticism. Among these papers are typescripts of two essays, three poems and a short play. The file containing materials pertaining to both the Anglo-Texan and John Gordon Societies includes a note written by Gillian Sutro stating that Greene had presented her with the papers to assist her in writing her memoirs. There is a large body of papers about the John Gordon Society. It includes correspondence between Greene and John Gordon, extensive correspondence from supporters including some prominent public figures, lists of members, summaries and minutes of meetings and newspaper cuttings of relevant brief articles by Gordon written for the Sunday Express which attacked what he claimed to be Greene’s views on pornography.

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Greene’s letters in this collection are addressed to the Spectator on behalf of the Society, to John Gordon, to Mrs Young his secretary and to John Sutro. One dated February 1956 is to the poet Stephen Spender agreeing to write an article on Nabokov for Encounter magazine and welcoming him to the Society as a founder member. The same month he wrote to John Sutro telling him that he had to go away and that Sutro would have to deal with what was becoming a ‘flood’ of applications. A fictitious society secretary, Miss Thompson, purportedly handled society business and John Gordon’s own correspondence was addressed to her. The origins of the Anglo-Texan Society have been well documented. Greene and Sutro spent an evening in Edinburgh in 1953 in the company of two attractive young Texan girls and on a drunken train journey back to London devised the idea of a spoof society dedicated to furthering Anglo-Texan relations. There was a totally unexpected enthusiastic public response following Greene’s letter to the Spectator announcing the formation of the society. The majority of this collection consists of correspondence from others to both Greene and Sutro, the constitution, agenda and minutes of meetings and relevant newspaper cuttings. There are a small number of letters from Greene. The most significant is a first draft of one addressed to John Sutro in October 1954 setting out his reasons for resigning as society president. He went on to state that while he was prepared to criticize America in general he was not prepared to patronise the nation. Although John Sutro also resigned shortly afterwards the society prospered for a further 20 years.

Reading, Berkshire BBC WRITTEN ARCHIVES CENTRE

Graham Greene’s relationship with the British Broadcasting Corporation (BBC) could be summarized as often uneasy and sometimes downright testy. The association between writer and broadcasting authority lasted practically the entire length of Greene’s adult life. It principally involved radio and embraced not only his fictional work but also his reportage, his views as an arts critic and his opinions as a well-known and respected public figure. Greene’s refusal to appear on television has been well documented. He was reluctant too about undertaking radio work. He professed to dislike interviews or reading from his books and was extremely particular about adaptations of his novels or stories. He was even adamant about broadcasting on the Third Programme only. Once he became an established writer he could be evasive about meeting dates for broadcasting or deadlines for submitting work which must have been deeply frustrating for those charged with programme scheduling. Although the writer did appear to enjoy very good working relationships with some individuals within the BBC, on some occasions there seems to have been a desire on his part to keep the Corporation at bay. Thus rejections of proposals for work made by hopeful BBC producers considerably outweighed acceptances. A good deal of the relevant documentation at the Written Archives Centre comprises correspondence from or to his agent Pollinger, or occasionally 53

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Greene himself, and programme producers within the Corporation. There are also contractual documents and invoices for work undertaken. Internal memoranda by BBC employees provide details about the process by which programmes featuring the author’s work reached the broadcasting stage. Additionally, there are revealing and sometimes surprising insights into the then current ‘worth’ of the writer to this medium  – something which varied considerably over time as tastes changed. There is a comprehensive collection of radio scripts of adaptations of Greene’s work on paper and on microfilm dating from 1934 to 1971. The correspondence and memos file for 1938–54 particularly provides a fascinating insight into the state of the writer’s fluctuating relationship with the Corporation during those years. Although Greene’s first exposure to radio had been in 1925, when he took part in the ‘Oxford Poets’ Symposium’, which involved the undergraduates reading their own work, the acceptance of his short story ‘A Day Saved’ for broadcast in 1934 constituted his first breakthrough. The letter giving him the welcome news acknowledged that he had declined the opportunity to read the story himself, an early indication of his reluctance actively to participate in broadcasting. There followed two rejections. The first was an idea of Greene’s in 1936 for a series of talks entitled ‘From Darkness to Dawn’. His letter to the producer included a brief outline of his proposal, its theme readily familiar, ‘Central London, Piccadilly etc., the Corner House, the cabmen’s shelters, the dingier clubs  – like Smoky Joe’s  – between 2  & 6 say. 54

There’s amusing stuff in it if one was not tied down but had a roving commission’. The lofty and dismissive tone adopted by a BBC employee in the internal memo accompanying the letter provided a ready gauge of Greene’s value at the time. The second rejection followed Greene’s return from Mexico in 1938. His agent wrote enthusiastically that the writer has been ‘studying the political situation’ and would like to give a talk about General Cedillo based on current information. This offer of reportage was politely declined with a curt reminder that there were more important political events taking place at the time closer to home. However, later in the same year, a synopsis for what became the radio play The Great Jowett was accepted. An internal BBC memo shows a radical change in attitude towards the writer in the intervening two years which no doubt reflected his growing reputation. Greene was receptive to advice about developing his skills in the medium writing to his producer in late October 1938, ‘Don’t hesitate to ask for more changes. I’d like to learn this job.’ Greene was less than agreeable when his cheque for the script was misdirected to a G. F. Green. His justifiable complaint was couched in excoriating tones: ‘I should be glad if in any further dealings with your odd organisation I could be separated in your rather confused brain from authors of a vaguely similar name .  .  .’. He ended, ‘As an added courtesy you might have my name in future spelt correctly on your cheques. This might even help you to avoid confusion.’ In 1941, Greene was asked at fairly short notice to contribute to a series of

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programmes for overseas listeners entitled ‘London in Spring’. The BBC producer Stephen Potter, who later wrote the selfhelp ‘Gamesmanship’ books, negotiated a very good fee for this task which had to be undertaken while Greene continued his work with the Spectator in addition to his nightly duties as an air-raid warden. However, when the resulting script was delivered it fell short of expectations. Greene readily accepted the criticism blaming fatigue and lack of time. However, the atmosphere was soured when the BBC began to quibble over the fee, offering the author just half the promised payment unless he rewrote the piece. Predictably, Greene quickly became angry issuing various threats. In the end the Corporation backed down and paid him in full. The following year, Stephen Potter who clearly valued a writer such as Greene, drew attention to a play script he had found entitled Gestapo in England by Sir Kenneth Clark and Graham Greene. He claimed it to be the best treatment he had read of an imaginary German invasion of Britain and was equally enthusiastic that it was written by Greene. Despite the fact that the threat of imminent invasion had passed by then the play was broadcast on the Home Service for the first and only time on 21 August 1942. The public school setting and scenes featuring bullies and victims complete with specific references, such as to Treasure Island, bore all the hallmarks of Greene’s hand. In January 1947 Greene wrote to the producer Anna Kallin to say that he had made a resolution ‘a long time ago’ to have nothing more to do with broadcasting. However, he expressed interest in her idea for a series of autobiographical

sketches, to be called ‘The Crisis’, about the formative books of one’s youth. He subsequently broadcast on Marjorie Bowen’s The Viper of Milan the same year, a talk later published as ‘Heroes Are Made in Childhood’. This was followed by a three-way literary ‘debate’ with fellow writers Elizabeth Bowen and V. S. Pritchett entitled ‘The Artist in Society’. By this time, the author was in great demand and was afforded virtually a free hand regarding subject matter if he was prepared to broadcast. However, because of his busy work schedule and determinedly independent lifestyle, Greene had become frustratingly elusive for would-be producers trying to meet production schedules. This was demonstrated in correspondence in early 1950 when Percy Newby, newly appointed as Talks Producer, attempted to persuade Greene to broadcast an appreciation of Robert Louis Stevenson, whose centenary would be celebrated in November of that year. The writer not only stipulated that he would only take part in a discussion about Stevenson with V. S. Pritchett but, of course, refused to allow the prospective programme to be broadcast on the Home Service. The resulting, unscripted recording of the discussion proved impossible to edit because the two writers frequently wandered off the subject. Efforts at re-recording proved fruitless as both Pritchett and Greene, especially the latter, disappeared on protracted trips abroad. In mid-1951, with the centenary date fading into the past, the project was abandoned. Greene also proved to be difficult to negotiate regarding television. As well as refusing to appear personally he was 55

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also opposed in principle to television adaptations believing that dramatizations departed too far from the original conception. However, there were those working within this newish medium prepared to challenge this assertion by the distinguished author in a way which would have been inconceivable, for example, in the publishing world. By the late 1950s one can also detect a shift in attitude in the BBC towards what had been accepted values in society hitherto. Instead the Corporation seemed to be seeking a broader and less dogmatic approach by its contributors. For example, in considering the suitability of The Potting Shed for television, a script supervisor found the writer’s preoccupations with religious debate deeply unsatisfying and biased in the way it treated opposing rationalist opinions. Neither, by that time, were his short stories automatically considered suitable material for television. A Reader’s Review of both the A Sense of Reality and May We Borrow Your Husband? and Other Comedies of the Sexual Life collections in 1970 concluded that only the story ‘May We Borrow Your Husband?’ provided a viable option. However, the BBC was proved wrong on that occasion as 18 of Greene’s short stories were successfully adapted and broadcast by Thames Television in the two series Shades of Greene. The fact that some of Greene’s work would not satisfy modern tastes is further underlined in an example from the late 1970s. Greene’s theatrical agent Jan Van Loewen suggested that The Great Jowett would merit revival for radio after nearly 40 years. A polite acceptance letter from the BBC, while admitting that the script 56

was amusing and atmospheric, pointed out that the style was old fashioned and would have to be advertised as an example from radio’s past. The play was broadcast again in 1980. UNIVERSITY OF READING RANDOM HOUSE COLLECTION

The Random House Collection at the University of Reading incorporates a number of archives of publishing companies such as the Bodley Head, Jonathan Cape, Chatto and Windus, John Lane and Routledge and Kegan Paul which Random House acquired during the second half of the twentieth century. These archives include a scattering of correspondence from Graham Greene, some pertaining to his own books, some to other writers’ work. Most of these letters are limited in content to routine publishing matters.

The Bodley Head The profusion of manuscripts of parts or the whole of the 1978 novel The Human Factor, described elsewhere in this book, illustrate the difficulties the writer found with completing this work in a satisfactory form. The relevant correspondence in this collection reveals that Greene continued to make minor adjustments and to tinker with the wording at a very late stage. Just four years later The Human Factor was published as the 22nd volume of the Collected Edition. Greene caused further small alterations to be made to that edition as well. There are two files relating to the publication of J’Accuse in 1982. Although there are only two letters written personally by Greene, there are a further

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five from his secretary and others by his agent, all of relevance. It is interesting to note that the writer and others consistently referred to the work as a ‘pamphlet’ prior to publication, a description not adopted subsequently. Although published in May 1982, Greene only disclosed his plans regarding the work in February of that year – that it would be around 5,000 words in length, published in English and French and issued in a edition of 1,000 copies, 500 of which he would sign. The files also contain typescript copies of two relevant letters to The Times which were published in January and August 1982. Additionally there is information about the libel case brought by Daniel Guy three years later. Finally, there is a letter from Greene to Rolando Pieraccini in July 1986 granting permission for Eurographica to publish a limited edition of J’Accuse. This never happened. Greene’s admission in his autobiography A Sort of Life that he stole from W. H. Smith when he was a boy living in Berkhamsted resulted in an amusing exchange between Max Reinhardt, writing on behalf of Greene, and the owner of the chain of newsagents. Laurence Cotterell was at pains to assure Reinhardt that his company did not intend to prosecute after more than 50  years and thus spoil the prospects of such a promising writer.

The Ministry of Information Greene worked for the Ministry of Information in 1940 prior to his recruitment to the Secret Intelligence Services. Central to his role, which involved liaising with individual authors and publishers, was to encourage what

was called a ‘mass educative influence’ on members of the public who were not classed as ‘general readers’. Letters from Greene, which are included in several of the publishing archives listed above, suggest that the writer undertook this task assiduously. His comments were invariably constructive, indicating how the Ministry might assist with marketing and publicity or issues of copyright. Interestingly, one letter was written and signed by Dorothy Glover who was presumably acting in an unofficial secretarial role.

Chatto and Windus The Chatto and Windus archive includes two letters from Greene both of which reflect in different ways his early struggles to become an established writer. In the first, written in December 1928, he asked for the return of the typescript of ‘Dear Sanity’ he had sent them. He had delivered copies of the novel, later renamed The Man Within, to Heinemann and to Chatto and Windus although in A Sort of Life the writer remembered it as the Bodley Head rather than Chatto. The second letter, dated October 1933, concerned the offer of a job at the publishing house which Greene rejected having just achieved a measure of financial stability after the sale of the film rights to Stamboul Train.

Rushden, Northamptonshire RANDOM HOUSE ARCHIVE AND LIBRARY THE WILLIAM HEINEMANN ARCHIVE

William Heinemann Ltd. was Graham Greene’s publisher for nearly 40  years. 57

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The relevant collection presents a challenge for the researcher as the contents are not catalogued or arranged sequentially. Although a few documents date from before 1945 the vast majority cover the post-war years up to the early 1990s. The contents include a large amount of correspondence, upwards of 800 letters, some from or to Greene, others from outside agencies. The subject matter covers individual titles, sales figures, contracts, reprints and future projects. In addition to the correspondence there is a wide variety of other material including internal company memos, the occasional typescript copy of Greene’s writings, examples of dust jacket designs, newspaper cuttings including many reviews of Greene’s works and a few photographs. The collection illustrates Greene’s determination to exercise very close control over all aspects of his published work including its physical appearance, advertising and promotion, author advances and royalties, the quality of translations and the order of publication of new editions. Internal staff memos suggest that this presented difficulties for a publishing house trying to go about its everyday business while at the same time coping with what might be deemed interference by one of its most important assets. Dust jacket designs seem to have constituted a particular target for Greene’s ire. For example, a fragment of an undated letter almost certainly written in the mid-1930s is particularly scathing about the celebrated artist/illustrator Philip Youngman-Carter whose book covers 58

are now considered quintessentially modernist. Greene wrote, ‘I have never seen a first class one by him, and must, like this one [probably the dust jacket for England Made Me], and his one for It’s a Battlefield, are bloody bad.’ Much later in 1982, a letter from Charles Pick to a Penguin employee warned him that Greene disliked the cover for the new edition of The Heart of the Matter. He told him that alterations in the past had caused much embarrassment and since then all such design changes had to be approved by the author. Greene had recently reminded Pick of that agreement. The writer also frequently berated the company about the quality of his works in translation. On one occasion he reported to Frere that someone he had spoken to in a Paris café had discovered numerous, basic errors just in the first two pages of a French translation of The Power and the Glory. On another, he copied a letter to Frere from a reader who reported that a cheap Dutch edition of The Quiet American contained several minor misprints. She had noted too, ‘. . . the saddest of all is on page 186, where the unhappy hero goes into the lavatory and licks the door’. Greene commented, ‘Your people who produce the Netherland edition seem to have attributed a new kind of fetish to Fowler!’ The details of the painful and often acrimonious move by Greene from Heinemann to the Bodley Head in 1962 are not directly referred to in the correspondence yet the ramifications stemming from this decision affected publishing matters for the rest of Greene’s life. There is for example a considerable amount of correspondence

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between the two publishers over Greene’s Collected Edition which required the two companies to cooperate as the rights to the novels were shared. The archive has a copy of the 1968 agreement concerning this edition signed by Max Reinhardt, Charles Pick, Greene and three others. Certainly the most contentious issue was over the publication of Shades of Greene. Two Thames Television series featuring eighteen of the author’s short stories were broadcast in 1975 and 1976. As Heinemann and the Bodley Head shared the rights to the original stories they naturally had to agree on the production and marketing of the book to accompany the series. Reinhardt was adamant that the Bodley Head should have full control of the selling operation as the idea had originated from Hugh Greene, Graham and Max himself. Pick was sceptical about the whole concept, arguing that the publication would adversely affect sales of Collected Stories issued three years earlier. Agreement was reached finally but not before a particularly forthright intervention by Greene himself to Pick reminding him that ‘From the beginning I have always exercised control over anthology rights’ and threatening legal action unless Heinemann complied with his wishes. There are some rare typescript copies of the author’s work including his original,

much altered draft of the controversial ‘Wee Willie Winkie’ film review written in 1937 for the magazine Night and Day. Additionally there are typescript copies of the introductions to eight of his novels, with authorial amendments, originally written for the German Collected Edition. A notable feature of Greene’s personality was his understated and enduring generosity towards friends. Letters in these files demonstrate in this instance his support for Dorothy Glover and for two long-time Capri acquaintances, Norman Douglas and Dottoressa Elisabeth Moor. In the case of Douglas, Greene pursued Heinemann after the writer had died, recommending that they publish a collected edition of Douglas’ work and berating the company for a ‘vulgar’ jacket design and other presentational changes made to Venus in the Kitchen which Greene considered an insult to the late writer’s reputation. In 1956 he wrote to the publisher Paul Zsolnay asking him to employ the ailing Dottoressa Moor as a reader for the German translations of Greene’s work once she had settled in Vienna. He added, ‘One would not necessarily pay any attention to what she reported.’ Greene asked Zsolnay to deduct £250 from his royalty earnings in order to pay Moor for these services. Zsolnay agreed to the terms of the arrangement.

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Archives in Ireland Dublin TRINITY COLLEGE GRAHAM GREENE LETTERS

A series of letters to Des Lally in County Galway from 1977 to 1978 mainly

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concern first editions of the Irish novelist George Birmingham (real name James Owen Hannay).

Archives in the United States of America Atlanta, Georgia EMORY UNIVERSITY THE GRAHAM GREENE COLLECTION

The Emory University collection comprises twenty-six letters written by Greene, or on his behalf. All date from the period 1962–6. They are addressed to Anthony Hobson or to John Carter who were both employees of Sotheby’s Auction House at the time. Carter was also a personal friend. The correspondence mostly relates to Greene’s interest in Victorian Detective Fiction. In the earliest letter, dated March 1962, Greene asked John Carter to recommend a retired book cataloguer who might be prepared to compile a professional listing of some 400 books of Victorian Detective Fiction which he had collected with Dorothy Glover over several years. He thought that the eventual publication of a limited edition of the listing, which did not extend to full bibliographical details, would be welcomed by second-hand booksellers. Other letters written that year relate to the progress made in engaging a suitable cataloguer. Greene was forced to correct Anthony Hobson regarding the ownership of the collection. His embarrassment was evident when he wrote, ‘In fact the collection belongs to her [Glover], but

I have helped and continue to help in forming it. How sensitive people are!’ The letters dated 1964–6 refer to other sales and purchases, not all related to Victorian Detective Fiction. For example, Greene’s secretary wrote to Anthony Hobson that her employer would be prepared to pay up to £150 for a Robert Louis Stevenson Autograph Manuscript Notebook in a forthcoming auction. The same month he negotiated with Hobson regarding the sale of letters written by Princess Alexandra to the royal nanny. These were in his estranged wife Vivien’s possession. Again on a personal note, Greene asked Hobson in September 1966 not to sell two books of his poems which belonged to John Hayward who had died the previous year. These were the privately printed and limited editions of verse, After Two Years and For Christmas. Explaining that the poems were of ‘an extremely intimate kind’, Greene stated that it was only his very long friendship with Hayward that, ‘made me rash enough to give them to him’. The writer sold most of the original holograph copies of his own works at a sale at Sotheby’s in May 1964. Three quite significant letters in this collection refer to this event. In the first, he asked John Carter to protect his privacy in the sale catalogue by stating that the 61

Austin, Texas

manuscripts had been gathered ‘from various sources’. In this letter and again after the sale, Greene indicated that he wanted the proceeds from the sale to be divided equally between Vivien and his children Francis and Lucy [Caroline]. Later he told Anthony Hobson that he was extremely satisfied with the results of the sale. The manuscripts had realized amounts which were ‘more than I had hoped for’ and some prices such as for the children’s books ‘seemed to me fantastic!’

Austin, Texas UNIVERSITY OF TEXAS GRAHAM GREENE COLLECTION

Series 1: Works Novels This unique and valuable collection of manuscript copies of Graham Greene’s novels was purchased from the author by the Harry Ransom Center (HRC) principally in the mid to late 1960s. It includes the majority of the writer’s early works together with some of his later novels. In most cases these original manuscript copies are accompanied by typescripts prepared for the Collected Editions of Greene’s novels which were published jointly by Heinemann and the Bodley Head in the 1970s and early 1980s. These include alterations made to the original text. There are also new introductions based on what Greene wrote in 1962–3 for a Collected Edition of his work in German published by the Vienna-based Zsolnay Company. Thus, this section of the HRC collection enables 62

one to undertake a close study of Greene’s most important writings from first draft to the final alterations the author made to the text, in several cases over thirty years after it was first written. The works in this section are described in the order in which they are catalogued in the HRC collection. Brighton Rock Greene wrote an introduction to the novel for the German Collected Edition of his works in 1962. His holograph manuscript with revisions is here, with a revised typescript. There are page proofs dated 1969 with Greene’s corrections of the introduction to Brighton Rock, and corrected proofs of the novel itself, both intended for the UK Collected Edition of the work, which was published in 1970. The film version of Brighton Rock is represented by two typed scripts. One is headed ‘Second Film Treatment’ and dated December 1946, and has revisions by Greene and three pages of inserts; these revisions include details when Fred Hale arrives at Brighton station, and when Pinkie meets Fred in ‘The Feathers’. The ‘3rd Shooting Script’ is credited to Roy Boulting, from a screenplay by Greene, with Terence Rattigan’s name crossed out after this. There are inserts and some revisions by Greene, including a new page in his hand at the story climax when Pinkie dies. The script is undated, but a dedication of ‘this corrected shooting script’ by Greene to Dorothy Craigie on the title page has ‘May 1947’ in his hand. A Burnt-Out Case Both the holograph of A Burnt-Out Case and the first typescript show that

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Greene made quite extensive changes to the text. Whole passages, some several paragraphs in length, are either discarded or added. Chapter breaks and other divisions also differ considerably from the published text. The second typescript also shows evidence of heavy revision but notably these address matters of style aimed at making the text both leaner and sharper. Alterations to a third typescript and the first proof copy mainly relate to typographical errors and minor grammatical alterations. Interestingly, none of the three epigraphs used by Greene on the title page of the first draft survive to the published version. The employment of the epigraph, which he claims in his book, Why the Epigraph?, provides a more accurate indication of the author’s intentions than a summary of the plot, is aptly demonstrated in this case. The original choice of words by Dickens, Shelley and particularly by A. H. Clough, ‘We are most hopeless who had once most hope / And most beliefless who had most believed’, appear to focus the reader’s attention on the personal burden and disillusion felt by Querry, and by Greene himself, at being an icon for some Roman Catholics in an increasingly secular world. Greene’s decision instead to include in the final version a quite lengthy extract from a leprosy pamphlet alongside Dante’s less specifically directed, ‘I did not die, yet nothing of life remained’ suggests a subtle shift in authorial direction during the writing of the novel towards addressing the problems of the real world and away from an introspective study of loss of faith which had been a preoccupation hitherto.

The Comedians The largest collection of material on a single Greene work at the HRC concerns the 1966 novel The Comedians, and the 1967 film which followed. The collection begins with nine pages of loose-leaf paper on which Greene kept a journal between 6 and 23 August 1963. This included the period when he visited Haiti for the third time, staying at the Grand Hotel Oloffson in Port-auPrince and visiting, among other places, Duvalierville, the showpiece of the Papa Doc regime. His journal notes are often brief and suggest he was sometimes afraid during his visit. Some entries have vertical lines marked against entries, some of them no doubt indicating material he used in his article ‘Nightmare Republic’, published the following month. Besides the journal there are fortytwo pages of notes, ideas, sentences and snatches of dialogue for possible use in what became The Comedians; thirtyeight of these pages are in Greene’s hand, four are typed, and any paper to hand has been used, including scraps of newspaper and a book’s dust jacket. Occasionally entries are dated  – one has ‘Chez Felix, Antibes, Sep.24. ’64’, while some items are crossed through, as if discarded, or used. Some notes are very short  – for instance, ‘Joseph does shooting. Jones sick behind a tomb.’ Greene’s undated holograph first draft of the novel runs to 194 pages. Possible titles ‘The Dissemblers’ and ‘A Man of Extremes’ are crossed out before ‘The Comedians’ is inserted. Various possible epigraphs for the novel are noted. The manuscript begins with the second paragraph of the published novel, and 63

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there is much included in the first part that did not make it into the finished novel. The ending is very close to the book as published. A 421-page undated typescript has revisions by Greene, some extensive in places, including at the very beginning; ‘Commandant Contrave’ becomes ‘Captain Concasseur’, and some change of order of the narrative is evident early in Part Two. The first 60 pages or so of the novel appear in typescript with Greene’s revisions, and for the first time, a date – 22 July 1964; this is labelled ‘first draft with corrections’. Two undated carbon copy typescripts have relatively minor and infrequent corrections by Greene, and a dedication to A. S. Frere, dated July 1965. A further undated typescript then follows the corrections made by Greene on the carbon copies, and there are some revisions not in Greene’s hand, on occasion correcting factual details. This typescript has the dedication to Frere in a longer form than that eventually published in the novel; here, referring to characters being ‘unrecognizable even to the cook in most cases’, Greene adds that he knew a ‘Jones’ type (but not in Port-au-Prince) for half an hour, a ‘Doctor Magiot’, ‘Mr Smith’  – all different from the novel’s characters. ‘Mr Schuyler Wilson’, he adds, ‘I have met in nightmare only.’ Two further proof copies, one dated 31 August 1965, have minor author revisions  – ‘a black’ becomes ‘a coloured’. A printed copy from 1966 has very slight author revisions, as have page proofs from the UK Collected Edition of 1975. Two holograph and two typescript blurbs for the book, written by Greene in 1965, declare the story to be about ‘the 64

committed and uncommitted’, and relate briefly Greene’s experiences of visiting Haiti. There is extensive material on the 1967 film of The Comedians, for which Greene wrote the screenplay. The effort involved in developing and refining the novel into a screenplay is very evident in this material, and explain Greene’s view that screenplay writing was exhausting work and his general refusal to take on such work in future. There are four preparatory story lines for the film, beginning with nine pages in Greene’s hand covering action on board ship; two typescripts extend this work, with descriptions of scenes, settings, and outlines of dialogue. Story lines 2, 3 and 4, also typescripts with revisions by Greene, amount to a further ninety-three pages of material, and take the story to its end, with increasing levels of detail and division into scenes as the basis for a screenplay. An undated script of 293 pages in Greene’s hand, many of the pages headed ‘Rough Draft’, has extensive revisions by Greene and some typed pages inserted from the ‘Story Lines’. There are 262 numbered scenes, with lighting and camera directions, dialogue and some description. A further undated ‘Rough Draft’ is in typescript, with handwritten pages by Greene added; many of the early scenes on board ship, present in the earlier rough draft, have been removed from this version. Seven further typed versions of the film script follow, almost all with additions and rewritings by Greene; ‘Rough Draft’ becomes ‘Screenplay’ becomes ‘Final Screenplay’. The final two versions are

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dated 1.9.66 and 1.12.66. One early version has a humorous opening, with close-ups of newspaper headlines on Haiti and voiceovers representing contrasting breakfast conversations in different countries; another is more menacing, with a negro, gun on hip, walking down a corridor towards the camera until his face fills the frame. A final folder has extensive holograph and typescript fragments, some notes, some sections of script, on occasion on Albany or other notepaper. The development of the final filmable screenplay was evidently a long and complex one. The Confidential Agent The Confidential Agent was written as a money-earning ‘potboiler’ in six weeks, possibly between March and May 1939, and published in September that year. The undated holograph of the novel runs to 118 foolscap pages, with a title page declaring the book to be ‘An Entertainment’ by ‘Henry Gough’. The pseudonym is crossed out and the book was published under Greene’s own name, but the notion of using a nom de plume suggests some embarrassment at publishing a novel written at such high speed. The manuscript shows little sign of thorough revision: there is an extensive addition to the text early on, but the pencil corrections are generally only occasional, with many whole pages bearing no sign of revision. The word count shows ‘67,500’ near the end, the result of 2,000 words written each morning with the help of a Benzedrine tablet. There is a holograph introduction to the novel, undated, but written for the 1962 German Collected Edition, and

two typescripts of the introduction, with revisions by Greene. Some of Greene’s revisions are significant. In one, he dates the writing of the novel to 1938 – possibly an error, which then carried forward into the later versions of the introduction. Greene also revised the section on the strain Benzedrine and writing under pressure put on him, stating it made him impotent for a time as he later tried to break his tablet-taking habit, and that, ‘I forced sexual experiences on myself to prove that I was cured.’ Page proofs for the UK Collected Edition, dated September 1970, include occasional corrections by Greene, and an addition to the introduction. In his book My Silent War, published in 1968, Kim Philby had referred to The Confidential Agent as shedding some light on his own attitude to the Communist cause in the late 1930s: my party, right or wrong. Greene adds a reference to this passage in his introduction, commenting that it showed he had been on the right track in depicting loyalty in the novel, despite then knowing nothing of intelligence work. A Uniform Edition copy used by Greene shows the changes he made for the UK Collected Edition  – a few sentences deleted or added, occasional word changes. At one point, in referring to Rose Cullen – ‘. . . she deserved something better than a Jew called Furstein .  .  .’  – the word ‘Jew’ is changed to ‘man’; and when Mr Muckerji is explaining the organization he works for, Greene adds the sentence, ‘We call it Mass Observation.’ The End of the Affair The folder relating to The End of the Affair does not contain the original manuscript 65

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which would have been dated 1951. The whereabouts of the first draft of one of Greene’s most important works with its strongly autobiographical element remains a mystery. Nevertheless, the relevant material shows that significant alterations were made to the text in preparation for the Heinemann / Bodley Head Collected Edition. The most prominent of those concern suggestions in the narrative that some kind of miraculous event took place in the course of the novel. The page proof typescript shows that Greene methodically changed all references to the ‘strawberry mark’ on the face of the character Smythe to ‘spots’ or ‘marks’ in order to emphasize that their subsequent disappearance had in his words ‘a completely natural explanation’. The writer’s discomfort with the more intensely religious elements within the book, those which embrace an acceptance of faith in divine intervention rather than in rational belief were first expressed in the 1963 German Collected Edition introduction which Greene subsequently revised a decade later. England Made Me The material on England Made Me consists of the original 175-page holograph, a heavily revised introduction and page proofs for the Heinemann / Bodley Head Edition, the latter containing minor alterations only. Although the manuscripts include evidence of revisions these are comparatively few when compared with the extensive reworking apparent in some of Greene’s later works. The novel was originally to be called The Shipwrecked, the title subsequently 66

used for the US edition. The alteration to England Made Me presumably persuaded Greene to change his epigraph to a somewhat prosaic quotation from the Disney film The Grasshopper and the Ant, ‘All the world owes me a living.’ Unfortunately, gone is the otherwise entirely appropriate epigraph, ‘There are only genuine ideas; the ideas of the shipwrecked. All the rest is rhetoric, posturing, false. He who does not really feel himself lost, is lost without remission’, attributed to the Spanish intellectual José Ortega y Gasset. A Gun for Sale A Gun for Sale was published just thirteen months after England Made Me. The manuscript displays all the confidence of youth with very few alterations made. Indeed there is only one entirely deleted paragraph in the entire manuscript. Likewise the accompanying post-war introductions and typescripts for the Heinemann / Bodley Head Edition are comparatively free of authorial revision. The Heart of the Matter In marked contrast, the introductions written both for the German Collected and the Heinemann / Bodley Head Editions of The Heart of the Matter are both heavily annotated and substantially altered. Early drafts show two quite separate introductions with limited shared elements. It would appear that the writer was trying to distance himself personally from the character of Scobie. For example, to the comment about Scobie’s suicide being inevitable, Greene has added ‘. . . it was Scobie’s belief not mine’. This seems to be a riposte to the unwanted attention Greene had received

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after the book was published from Catholics who in associating the author with his main character had pursued him seeking solutions to their own problems of faith. The central causes for Greene’s professed dislike of The Heart of the Matter seem to centre first on dissatisfaction with what he describes as a technical fault in the book and secondly the memory of ‘personal anguish’ associated with his time as a Secret Intelligence Service (SIS) agent in wartime West Africa. The drafts in the HRC collection show the process leading to the reinstatement of a deleted chapter for the Heinemann / Bodley Head Collected Edition which addressed the first issue. The chapter, an encounter between Wilson and Louise Scobie, shows the latter in a more sympathetic light. Greene also disclosed why he felt distressed by his novel by recalling a particularly unpleasant interrogation he was forced to undertake as part of his SIS work. However, given the time period during which The Heart of the Matter was reaching completion one cannot help speculating that the ‘anguish’ was also associated with the mental torment surrounding his final separation from Vivien. The page proof copies for the Heinemann / Bodley Head Edition also illustrate his attempts to modernize the text. For example, ‘Dear, dear’, replaced ‘Darling, darling’ and the references to ‘mortal sin’ become ‘the worst thing I could do’. Manuscript and typescript extracts from the dramatization of The Heart of the Matter, which was staged in Boston in 1950, reveal differences between the two versions. The extract features the

confessional scene involving Scobie and Father Rank. The typescript omits details included in the earlier version. The Honorary Consul Extensive materials on the 1973 novel begin with notes Greene made in preparation for writing and during the writing process itself. Seven pages of haphazard notes are written on whatever came to hand  – the inside of a dust jacket, a torn-off bit of newspaper. More systematic are two small notebooks kept during the composition of the novel. The first has a number of aide mémoire statements  – ‘Charlie Fortnum  – always known at school as Mason. Physical resemblance to Ford Madox Ford’, and ‘“I” a political journalist? No – a doctor Eduardo Plarr’. One page, dated January 1970, lists ten chapters for the book, with a word count for each, and a total of 65,000; each count has ‘?’ against it, apart from chapter 1, which has a tick against its count, having been already written. The notebook continues with dated notes for 1970 through to April 1971, as writing proceeds. The book ends with material unrelated to The Honorary Consul  – comprising an incomplete introduction about Greene’s film criticism and looseleaf notes for, it seems, A Sort of Life. These include, ‘Stealing from Auntie Madge to buy a watch’ and ‘Organ grinding with Claud’. The second notebook begins with what seems to be a list on South America generally. Twelve numbered points include, ‘1. Effect of Bolivian counterrevolution’ and ‘7. Copper nationalisation. “Vast majority” have a living wage’. This is followed by notes on the novel, headed 67

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‘HC’  – for instance, ‘More explanations of Aquino (Trotsky) v the priest (justice). Urge to talk to their prisoners’. The 157-page holograph of the novel has epigraphs by Kirkegaard and Hardy and ‘Begun June 4. Anacapri’ on the title page. A separate sheet shows the timetable of the week covered in the novel, from ‘Monday night. Kidnapping’ to ‘Friday. Helicopter’. The manuscript has been revised by Greene, sometimes heavily so, and at the end there is ‘91,598. June 13, 1972. Anacapri. St. Anthony’s Feast Day’. The various typescripts of The Honorary Consul show Greene being particularly meticulous, almost obsessive, in getting the finished product right, including obtaining partial transcripts of the still-unfinished work to revise. A typescript dated 7 September 1970 ends at just over 40,000 words and has extensive authorial revisions, including changing the name ‘Fernandez’ to ‘Saavedra’. A large section in the latter part of the typescript has been omitted, and elsewhere, two handwritten pages have been added. A longer typescript from 1971 includes more of the novel, but is still incomplete, with the siege still going on at its end. Revisions are again sometimes extensive, and on the folder for this draft Greene has again listed the chronology of the events of the novel, but now moving them to Tuesday to Sunday. A further, undated typescript extends to the very beginning of the final chapter, again with some inserted handwritten pages and careful revision. A fourth undated typescript is still incomplete with the same meticulous process of revision. It is also accompanied by material used 68

in writing the novel – a map of Corrientes and four newspaper clippings from El Litoral, including one from 29 March 1970 which Greene has had translated into English. Its headline reads, ‘After 80 Hours of Captivity the Paraguayan Consul is Freed.’ The first typescript of a completed version of the novel is dated 1972. Again, there are deletions, additions and other stylistic changes. For example, ‘Visited the capital’ becomes ‘gone to Buenos Aires’. Some new pages are added, one is recast in a major way. The final three pages are heavily reworked, right down to the very last sentence of the novel: ‘He realised that never before had she seemed so real to him’ is changed to ‘He realized she had never before appeared quite so living to him as she was now’. This is later changed yet again to the final sentence as it appeared in the published novel. On a tear-off envelope flap is the date 20 September 1972, and Greene has written, ‘Final version – thank the Lord!’ There are three further full typescripts of the novel, all now with far fewer authorial revisions. One is dated ‘From September 1969 to September 1972’, and there are sets of galley proofs, and page proofs, both dated 1973. There is a letter accompanying the galley proofs from Graham’s doctor brother Raymond from November 1972, making four comments on medical aspects of the novel  – to which Graham has responded by making three changes to his text. The Human Factor There are no fewer than ten folders of material on Greene’s novel about the secret service, The Human Factor. This is

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unsurprising as the book appears to have taken the writer twelve years to complete. In the interim he completed two other novels and a volume of short stories. There are four heavily annotated and radically altered manuscripts comprising either the entire novel or parts of it which date from between 1966 and 1976. It would appear that Greene found particular difficulty in finding a suitable opening, vacillating between the hero Castle arriving back at home in Berkhamsted after a day’s work and starting the novel in his office in London. At a later stage, batches of seemingly random pages with short sequences of page numbers show how certain passages were constantly but not consistently reworked. The title also changed from ‘The Cold Fault’ to ‘Sense of Security’ to ‘The Human Tie’. He did not use the eventual title until 1976. Before that Greene principally favoured ‘The Cold Fault’ and the accompanying four-line epigraph from Shakespeare’s ‘Venus and Adonis’ which presents a stark image of hounds systematically singling out the scent of their victim. It is not until the second, corrected typescript stage, dated 1976–7, that he settled on an epigraph by Joseph Conrad, and it seems was satisfied with the text itself, as that copy contains far fewer amendments. It’s a Battlefield The original holograph of It’s a Battlefield has both the start date, 13 September 1932 and the date Greene finished his fourth published novel – 4 August 1933. Greene’s journal of the period suggests that he undertook some preliminary research beforehand visiting London to

map out routes, Wormwood Scrubs and Wandsworth Prisons and a match factory in Gloucester. Some, but comparatively few, revisions were made to the text but there were no major alterations. In addition to the manuscript there is a revised typescript of the novel and the introduction for the German Collected Edition and a corrected proof copy of the Heinemann / Bodley Head Edition. Loser Takes All A printed copy of the novella with Greene’s revisions is undated but clearly intended for the UK Collected Edition – ‘calculators’, for instance, is changed to ‘computers’. There is a typescript of Greene’s introduction for the Collected Edition, and of the book’s dedication to A. S. Frere. The Man Within The manuscript of The Man Within is in a particularly fragile state; the paper is browned and crumbling at the edges. The front page has the title and underneath Greene has written an earlier title ‘Dear Sanity’ and his name and an address in Hampstead Way, London. Originally the writer had chosen for his epigraph the closing stanza of Thomas Hardy’s ‘A Young Man’s Exhortation’, ‘If I have seen one thing / It is the passing preciousness of dreams / That aspects are within us; and who seems / Most kingly is the king’. Greene used a ‘deconstructed’ Penguin edition to revise his novel for the Heinemann / Bodley Head Edition. He listed the page numbers where the changes were to be made. Additionally, there is a published US Viking Edition containing quite extensive alterations extending to the elimination of entire paragraphs and 69

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sentences. Greene included a personal dedication, ‘To Frere, this attempt to eliminate sentimentality from this terrible first book’. The Ministry of Fear Greene wrote The Ministry of Fear while serving with the SIS in Sierra Leone during the Second World War. The book is unique as it has a separate epigraph at the start of each chapter, all of which are from the Charlotte M. Yonge’s children’s story The Little Duke. The author added those when he returned from West Africa in 1943. Therefore the original, undated manuscript lacks these quotations and also the obscure epigraph used for the whole novel, ‘How they brought home the haunch’. Various revisions were made to the German Collected Edition introduction in preparation for the Heinemann / Bodley Head Edition. There is a note on the typescript of the revised introduction, not in Greene’s hand, ‘GG did blurb from this introduction, for Collected Edition’. This was one of several ‘blurbs’ for novels composed by Greene himself, a task he undertook when he was dissatisfied with the quality of an editor’s work. The Name of Action Greene’s second novel is in holograph form in a bound foolscap notebook with the author’s revisions. It is dedicated to his wife Vivienne, with postcards and a map of Trier in Germany – one of the settings of the novel – glued to the front and back. Dates relating to the novel are recorded  – begun March 1929, finished July 1930, published 6 October 1930. Several alternative titles are given: ‘Falls the Shadow’, ‘The Dictator’, ‘The 70

Dictator’s Wife’ and ‘Heretics in Love’. The manuscript is heavily revised in the early parts, much less so later on. Our Man in Havana There is an undated typed draft blurb, with very extensive handwritten authorial revisions, and a revised holograph and typescript of the introduction to the novel for the German Collected Edition. An incomplete holograph of the novel itself amounts to eighty-nine pages and around 40,000 words. Thirteen pages consist of four substantial sections interpolated into the manuscript at different points. The manuscript has been revised by Greene, and is undated. An undated, complete draft has a combination of typed and holograph sections, as if Greene had sections typed up and revised before proceeding with the writing, and interpolated passages into typed material. Thus there is a typescript up to the end of Part V, Chapter  1, then alternations of holograph and typed sections. There is extensive revision, and an element of ‘scissors and paste’ work in the text. A bound carbon copy typescript of the novel has ‘An Entertainment’ added under the title, and at the end is written, ‘Nov. 8, 1957, Havana. June 2, 1958. London’. Lightly revised page proofs of the novel from 1969 include Greene’s introduction to the UK Collected Edition. There are two versions of scripts for the 1959 film of the novel, for which Greene wrote the screenplay. The first, undated, is labelled ‘1st Draft’, and does not run to the end of the film. It is a composite of 172 pages of handwritten Greene material and thirty-five proof pages of the printed novel, both with authorial revisions and

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both set out in screenplay format. Five pages of a plan for the action of the film, written on notepaper from a Havana hotel, are divided into five acts, but do not reach the film’s end. A typescript ‘Screenplay by Graham Greene’ is dated 12 January 1959 and has some additional material added by Greene in the very final scenes. ‘Notes on Principal Characters’ are added at the beginning. The Power and the Glory The title page of the first manuscript of The Power and the Glory has ‘A New Novel by Graham Greene’ with the title set to one side. He included two epigraphs on this page, the one by Dryden which was retained and another by Wordsworth. The text bears witness to the fact that Greene paid particular attention to what he considered for many years to be his best work. There are a substantial number of alterations made with some entire paragraphs either added or discarded. The author used a ‘deconstructed’ Uniform Edition of the novel to make his revisions for the Heinemann / Bodley Head Edition. There are three typescript copies of the introduction together with page proof copies. The Quiet American The original holograph of The Quiet American was sold at Christie’s Auction House in 1995 to a private buyer making it one of very few Greene manuscripts of this period not part of the collection at Austin. There is a six-page revised manuscript introduction together with a draft typescript for the Heinemann / Bodley Head Edition. A note at the end instructs an editor to include the entire

text of Greene’s essay ‘A Few Pipes’ with the introduction. A 24-page typescript of the introduction includes a note by Josephine Reid stating that Greene wrote the blurb for this edition. Finally, there is a complete draft typescript dated 10 October 1972 and page proofs and printer’s notes also for the Heinemann / Bodley Head Edition. Rumour at Nightfall The holograph of this, Greene’s third published novel, runs to around 91,000 words and has the dates 5 September 1930 to 27 April 1931. The title page has the alternative titles ‘The Phantom in the Hair’ and ‘Ramon’s Ghost’, and a series of epigraphs are attempted before one from Thomas Traherne is settled on. The manuscript has authorial revisions, most of them relatively minor, although the very first paragraph of the novel is very heavily altered. Stamboul Train Greene wrote Stamboul Train under immense financial pressure knowing that if he did not succeed with the book he would be forced to abandon full-time writing. Although it was a success he found himself having to change significant passages after the book was published. J. B. Priestley had threatened libel action over the unfavourable portrayal of one of the characters who he believed was based on him. The offending copies of the book were withdrawn and reprinted partly at Greene’s expense. Therefore the manuscript copy, together with a bound typescript inscribed by the author to Rupert Hart-Davies, are probably unique in containing the original text. The typescript is revealing as Greene made 71

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handwritten alterations. He lessened slightly the possible associations with Priestley by altering by hand the initials of the character from ‘Q.B.’ to ‘Q.C.’ Savory but then heightened the satire by adding the intermittent use of a colloquial accent in his dialogue. The reference to the fact that Dickens’s reputation would outlive that of Joyce or Lawrence, which Priestley found so offensive because his own success with The Good Companions had elicited comparisons with the nineteenthcentury novelist, is in this version. The introduction for the German Collected Edition has nearly two pages crossed out. These too refer to the Priestley affair and contain a more detailed account of events than appear either in the Heinemann / Bodley Head Edition or in Ways of Escape. The collection also includes the page proofs with authorial revisions for the Heinemann / Bodley Head Edition. The Tenth Man There is a 90-page typescript of the story. It is accompanied by a letter dated March 1967, from Greene’s literary agent Laurence Pollinger to a Jill Phillips in London. Mrs Phillips clearly had a copy of the Greene typescript, and Pollinger wrote, on Greene’s instructions, to advise her that MGM had the copyright on the story; he added that this was the second such typescript to come to light in the last twelve months. The other is at Boston College. The letter is interesting in the light of the ‘discovery’ of the story before its publication in 1985. The Third Man The earliest material relating to the 1949 film is a typescript ‘Treatment’, 72

with description of action and dialogue throughout. This treatment is the basis of an undated ‘Draft Script’ which differs from the film in several respects, including an opening voice-over delivered by Calloway as we see him from behind, some differences in the sewer shootout, and a closing scene where Holly Martins and Anna Schmidt come together. ‘Draft Script 2’, dated 20 September 1948, now has a different opening scene, with Martins’ passport being examined, sewer scenes still containing a lot of dialogue between Paine and Martins, and an ending with Schmidt walking past Martins; ‘Character outlines’ have Martins as a Canadian and Schmidt as a Ukrainian. An undated ‘Release Script’ gives a detailed record of the completed film. Greene’s story of The Third Man comes in a typescript dated 2 June 1948, complete and unrevised. There is a later but undated printed copy, with a typescript of the introduction. A second printed copy has minor revisions by Greene to a Penguin edition  – ‘British Cultural Relations Society’ becomes ‘British Council’  – and includes a copy of the 1950 Preface by Greene. Page proofs from 1975 for the UK Collected Edition of The Third Man and Loser Takes All include Greene’s introductions to both stories. The introduction to The Third Man begins with material closely following that in the 1950 Preface, but there is a substantial amount of new material. Travels with My Aunt Compared with other manuscripts, the undated script of Travels with My Aunt is not as heavily revised or redrafted as some

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other of the author’s later works. However, the first and second typescript copies do contain a number of deleted passages but these do not extend to whole pages of text. Very often the changes were limited to the reworking of a single sentence. It was at this point that Greene deleted all the chapter titles he had included in the holograph. Although two epigraphs, one the thirteenth century ‘Song of William Marshall’ and another by W. H. Auden are included at this stage, unusually no epigraph was used in the final, published version. The collection also includes further typescript drafts, galley proofs and a bound proof copy. There is also a 34page notebook pertaining to the novel containing notes of various kinds. Inserted is a three-page fragment by Greene, dated 18 February 1969, which commences, ‘Fifth day of fever ranging up to 104 makes me think it time to make some rough notes of how I intend to finish Travels with my Aunt’. He started at the point where Augusta sends Henry tickets to fly to Buenos Aires with instructions to proceed from there to Asunción. He then sketched out a rough outline of the remainder of the story.

Other Significant Published Works The original manuscript collection at the HRC also includes short stories, children’s stories and plays in addition to novels. Non-fiction manuscripts include Greene’s travel books and collected essays. As before, these works are described below in the order in which they are catalogued. Address Greene’s Address on receipt of the Shakespeare Prize in Hamburg on 6

June 1969 was published as The Virtue of Disloyalty. Greene’s holograph manuscript for the Address has revisions, and typescripts of the first and second drafts are also revised. The typescript includes an introductory paragraph not included in The Virtue of Disloyalty. Further material can be found under The Virtue of Disloyalty. Carving a Statue It is evident from the working papers in the HRC that aspects of Carving a Statue, in particular its staging as opposed to the philosophical construct, caused the writer great difficulties. There are no fewer than twelve folders containing multiple drafts of key scenes and the ends of acts in particular. It is significant that the published version is in three acts. This was clearly Greene’s intention and this matter constituted one of the difficulties facing the director Peter Wood in reconciling this famous writer’s wishes with the practicalities of staging a difficult play. For Wood, continuity and pace would best be achieved in two rather than three acts, the format in which Carving a Statue was first performed in the West End in September 1964. Another problem concerned the ending of the play. Greene’s notes show that the crucial, final exchange between father and son, so vital if the audience is to make sense of their fluctuating and often contradictory relationship, was altered on more than one occasion, sometimes fairly radically. At an early stage, Greene even showed uncertainty about the age of the son and the two girlfriends: a crucial and sensitive matter given the unsettling sexual issues explored in the play. The 73

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boy is described in one draft as being just fourteen at the start of the play and the girls seventeen and sixteen respectively.

This file comprises the working drafts for the author’s Collected Essays which was published in a similar format to the collected novels but in this case by the Bodley Head alone. The essays, all of which had been published before, range from personal reminiscences to book reviews to individual character studies. In some cases, Greene has left his original text unaltered, in others there are extensive revisions some incorporating a change of title. Additionally, there are page proofs of the complete book with further minor authorial amendments.

Edition. His holograph introduction is here, with revisions, and a typescript revised first draft dated February 1972. There are page proofs with author corrections. Greene took Penguin paperback editions of 21 Stories, A Sense of Reality and May We Borrow Your Husband? and removed the bindings, using the text to correct for the Collected Edition. These corrections are relatively few and minor  – in ‘Men at Work’, for instance, ‘Ministry of Propaganda’ is changed to ‘Ministry of Information’. However, Greene has made some more significant changes to ‘The Basement Room’ in the young boy’s reaction to the events of the story. As Philip runs away from the house in which Mrs Baines has just died, Philip reflects, ‘Let grown-up people keep to their world and he would keep to his, safe in the small garden between the plane-trees’; but Greene has deleted the sentence which follows: ‘“In the lost childhood of Judas Christ was betrayed”; you could almost see the small unformed face hardening into the deep dilettante selfishness of age.’ Later, as a constable returns to the house with the boy, there are substantial deletions concerning Philip’s retreat from commitment to Baines; while at the end of the story, before Philip declares, ‘It was all Emmy’s fault’, Greene has deleted the boy’s reflection, ‘it wasn’t his business and never, never again, he decided, would he share their confidences and companionship’.

Collected Stories In 1972 Greene published a volume of collected short stories as part of the Heinemann / Bodley Head Collected

The Complaisant Lover A ‘production copy’ of Greene’s third play The Complaisant Lover includes a typescript insertion at the start of Act

Collected Edition The content of this file includes introductions written by Greene for the Heinemann / Bodley Head Collected Edition. There are manuscript and typescript introductions, mostly heavily revised, for a total of six novels, two travel books and for The Third Man. It is interesting to note, in the case of the latter, that Greene used the preface to the earlier Penguin Edition as the basis for his introduction to this story and then extended it quite considerably. Perhaps it was the enduring popularity of the film that prompted him to explain at some length the origins of a narrative which was never intended to be published in story form.

Collected Essays

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One, Scene 1. Interestingly, this version omits the opening two sentences included in the published copy. The Empty Chair Although undated, it is considered likely that Greene’s unfinished novel or long short story The Empty Chair dates from around 1926, given the fairly juvenile handwriting in the holograph copy. The title ‘The Empty Chair’, Greene’s choice for the opening chapter, was adopted by the French academic Professor François Gallix when he brought this otherwise untitled work to public attention. The work was serialized in the Strand Magazine in 2009 and appeared in book form in a French language edition in 2011. In Search of a Character: Two African Journals There are several separate items which contributed to the writer’s 1961 publication In Search of a Character: Two African Journals. Although not catalogued sequentially they are considered as a group for the purposes of this account. The two African journeys relate to his wartime secondment to Sierra Leone and to his research visit to the Congo leprosy hospitals prior to completing A Burnt-Out Case. Greene’s 64-page ‘Passage to West Africa Journal’ is contained in a reporter’s notebook. The published version, titled ‘Convoy to West Africa’, is practically identical in content to the journal. Although there is little material either added or deleted concerning the voyage to Freetown, the published account ends on 3 January 1942 whereas the journal extends to early March of that year. Interestingly, it is evident that Greene did

not disembark immediately but remained billeted on the ship for several days. Later entries describe the people he met and worked with which allow one to gain an impression of his everyday routine. One can see how the experience directly contributed to the atmosphere he created in The Heart of the Matter. For example, in an entry dated 14 February 1942, he described going to a Cary Grant film in the evening: ‘Lightning beginning to play in distance before end of film. Tonight torrential rain and continuous lightning. Terribly bitten by mosquitos inside net’. ‘Convoy to West Africa’ was first published in 1946 in an anthology entitled The Mint. Greene used a copy of this publication as a basis for revising his account for In Search of a Character. Minor changes were made; for example explanations were added in the form of footnotes. Greene based the much longer ‘Congo Journal’ on the one he kept in the period February–March 1959. He gave the 62-page holograph a provisional title ‘In Pursuit of a Novel’. An Impossible Woman: The Memories of Dottoressa Moor of Capri A typescript of 1975 shows initially light revision by Greene, but later a whole section appears to have been omitted, then two new pages added, and the order of sections changed. Page proofs dated 11 February 1975 show light revision, then a number of lines are added in Greene’s hand referring to the Dottoressa’s death on 23 February 1975. Journey Without Maps The first page of the holograph of Journey Without Maps has that title deleted in favour of ‘The Mapless Journey’. 75

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Presumably Greene changed his mind again at a later stage. The manuscript carries the original dedication, ‘To Vivien: I carry you like a passport everywhere’, which for the Heinemann/Bodley Head Edition had been changed in favour of his cousin Barbara Strachwitz, his companion on the journey through Liberia. In addition to a typescript of the 1963 German Collected Edition introduction there are eighty pages of holograph notes made by Greene during the course of his travels entitled ‘Journey in the Dark’. Almost the entire journal is written in pencil and is very faint making it extremely difficult to read. The notes are clearly intended as an aide-mémoire for future reference as in this example: ‘Freetown, An intense seediness  – Europeans had withdrawn to the hills. All shabbiness are English, the only colour native. The fishing ten deep on the ground; the public library; the hotel; the seventeen day poster; the customs officer with his sly burst into hymns.’ The Lawless Roads The 127-page holograph of the writer’s second travel book, The Lawless Roads, contains quite extensive authorial revisions. The manuscript has a number of inserts in the form of published material. Additionally, there is a bound typescript, again with revisions. The Little Train, The Little Horse Bus and The Little Steamroller Three of the four children’s books which Greene produced in collaboration with Dorothy Glover in the decade following the Second World War were first planned in cheap exercise books. These contain pencil outline sketches for the stories of

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The Little Train, The Little Horse Bus and The Little Steamroller respectively. Successive pages simply show where there would be full-page illustrations by Glover and where a mixture of text and illustration. Arrows indicate the ‘flow’ of the narrative. The Little Train differs from the other two by being produced in A5 landscape format. In this case there is a card front cover with the title and ‘by D.M. Craigie’. The Living Room The long-running project to produce a film of the stage play The Living Room ultimately ended in failure, despite much time and effort being expended on Greene’s part. Apart from three acting scripts and a copy of Devotional Poets of the 17th Century which has the outline of the plot inside the back cover, the rest of the manuscript material consists of various versions of the screenplay. The extra scenes scripted for the film version were added over a nine-year period, 1952–61, which indicates that Greene was already working on the film version before the premiere of the stage play in 1953. Prior to abandonment, there appears to have been a final copy produced, entitled Version ‘A’. The HRC Finding Aid suggests this is dated 1961. Even at this late stage it is evident that Greene had continued to work on the script. Lord Rochester’s Monkey Greene’s biography of the seventeenthcentury poet was written in the early 1930s but not published until 1974. There is undated fragmentary holograph material  – a page of Rochester’s verse, the preface and chapter  5 and the

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Bibliography  – and other fragments of typescript with Greene’s revisions. An undated photocopy typescript shows a renumbering of chapters, and with ‘Prologue’ changed to ‘Preface’. An apparently later typescript is dated March 1973 and has authorial revisions, including deletions, additions and renumbering and renaming of chapters. There are undated galley proofs, and page proofs from 1974. Original holograph material for the book from the 1930s, kept at HRC, can be found stored under Rochester. May We Borrow Your Husband? and Other Comedies of the Sexual Life A proof copy of this short story collection from 1967 has authorial corrections and revisions. In ‘A Shocking Accident’, Sally’s favourite author is changed from Dornford Yates to Hugh Walpole, while in ‘Awful when You Think of It’, a sentence is added at the end: ‘I could only hope that I would not live so long.’

The Pleasure-Dome The holograph manuscript of Greene’s introduction to this collection of his film criticism is quite extensively revised – his own earlier critical judgement on Alfred Hitchcock is added, for instance. A first draft typescript of the introduction is revised and dated February 1972. The Potting Shed The third act of Greene’s second play, The Potting Shed, was rewritten by the author for its first performance in New York in 1957. The first two typescript copies show a substantial number of changes made, particularly to the last act. Whole pages of dialogue are deleted. However, the final copy, marked ‘Director’s Copy’, has fewest alterations.

‘The Monster of Capri’ and ‘The Monster’s Treasure’ These are two children’s stories written by Greene for his grandchildren Andrew and Jonathan when they were small. Handwritten on the backs of postcards of Capri, they include illustrations by Greene.

The Return of A.J. Raffles The holograph of this play states that it was written at the author’s Capri house in 1974. Successive typescript copies contain revisions in the author’s hand. The galley and page proof copies show far fewer changes. Finally, there is a small rehearsal notebook with Greene’s jottings about staging, acting and other matters together with some additional dialogue. The existence of this little book demonstrates the author’s enduring interest in the theatre and his desire to be actively involved in production matters.

No Man’s Land A holograph of this film story runs to 14,700 words and there is a typescript; both contain authorial revisions. The typescript has spaces that had to be filled in later, when the typist could not read Greene’s handwriting. The two texts are undated, but the story is known to have been written in 1950.

Rochester: A Restoration Portrait: Being the Life of John Wilmot, Second Earl of Rochester Materials at HRC relating to the 1974 publication of Greene’s biography are included under the title Lord Rochester’s Monkey. Material dating from the early 1930s, however, when Greene researched and first wrote the book, is listed under 77

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Rochester. There are around 150 undated holograph pages of notes made in preparation for writing the book. These include a chronological table, year-byyear notes on events in Rochester’s life, a list of sources to be consulted or already consulted, letters, copies of poems and stories, and two portrait illustrations. The impression is of a ‘rookie’ historian going about his research. The holograph of the completed biography states that it was begun on 10 June 1931 and has the title Dorimant: A Restoration Portrait; Dorimant is a character in Sir George Etherege’s Restoration comedy The Man of Mode, which provides an epigraph for the book – ‘I know he is a Devil, but he has something of the Angel yet undefac’d in him.’ Parts of the biography are very heavily edited, but many pages are completely untouched. An undated typescript of the book is presented in five bound volumes, with Rochester now as the title. Greene’s revisions include additions and deletions and changes to chapter titles and structure. A Sense of Reality The four stories published in one volume in 1963  – ‘A Discovery in the Woods’, ‘Dream of a Strange Land’, ‘Under the Garden’ and ‘A Visit to Morin’ – are each in undated bound typescripts, three of them with relatively minor authorial revisions. The exception is ‘Under the Garden’, where the last paragraph shows extensive change, with deletion of lines indicating that Wilditch ‘had lost the liberty to die’. Greene has added the phrase, ‘haunted by the possibility of the impossible’ to the last sentence, then crossed it through. 78

There are also undated holograph manuscripts and typescripts of three of the stories  – ‘A Visit to Morin’ is the exception  – with Greene’s revisions, extensive in the case of ‘Under the Garden’. Page proofs of the four stories date from 1963. A Sort of Life This volume of autobiography, published in 1971 and taking Greene’s life up to 1932, is very selective in what it chooses to cover. The very extensive collection of drafts and typescripts at HRC  – thirteen in all, not all of them covering the full span of the book  – shows the extent of Greene’s care in selecting, ordering and editing his material. Only the last two versions are dated, so it is not possible to be precise about when particular decisions were made. The collection begins with fifty pages of material, most of it holograph but with some typescript, all with authorial revisions. It starts with the first section which introduces the book in its published form, then there are pages on Berkhamsted. Neither exactly matches the published volume. This is followed by material on his period at The Times and in London, on leaving the newspaper, consideration of his second and third novels, and his time living in the Cotswolds. There is also a transcript of the article ‘The Soupsweet Land’, Greene’s account of revisiting Sierra Leone in 1967. It is evident from a later draft that for a time Greene considered having the essay as the opening of A Sort of Life and might suggest that this first draft material dates from 1968, when the article was first published.

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The following draft  – a mixture of holograph and typescript, labelled ‘1st Revision’ by Greene – fills in many of the gaps, giving details of Greene’s school life (‘Ch. 2 – “The Prison and the Pain” ’), his nervous breakdown and subsequent stay with Kenneth Richmond, his time at Oxford, a transcript of ‘The Revolver in the Corner Cupboard’, and his career after Oxford, his time in Nottingham. The third draft consists of forty-five typescript pages with authorial revisions, covering various periods of Greene’s life and ending with the diagnosis that he had epilepsy. It includes a section on prostitutes, placed between what became sections 4 and 5 of chapter  10 in the published book. It is based on his experiences in London before and during his work at The Times, and ruminates on areas, individuals, brothels and oriental cafés in an honest but unsensational way, and with touches of humour. The section survives through more than one draft before it is omitted. The next six drafts of A Sort of Life are longer than the third, as material is added, dropped or rewritten. Most of the material is in typescript, but there are holograph additions, including new material on Greene’s parents’ marriage and on his attempts at play-writing. ‘The Soupsweet Land’ and the section on prostitutes are added, then dropped. There are further small additions from a dictabelt and four pages of holograph text, but without the final half-page of the published book; this is added in a later version. Galley proofs from 1970 have the long paragraph on Aunt Florence added by Greene, and there are page proofs with minor revisions. A final folder has material responding

to complaints by Cecil Roberts about references to himself in the section on the Nottingham Journal in the published book. There is a holograph insert to alter this section, and a note to cut references to Roberts out of future reprints. The Virtue of Disloyalty The Virtue of Disloyalty relates to the speech Greene gave in Germany in 1969 on his winning the Shakespeare Prize, and galley proofs are for the limited edition of the speech, published in 1972. Yes and No The holograph manuscript of Greene’s short play Yes and No, first performed in 1980, has a signed title page and some timings in the text.

Minor Published Work When the HRC became the chief recipient of Greene’s manuscripts during the 1960s and 1970s, it also purchased a large amount of the writer’s other, more minor published work in manuscript form which included book reviews, essays, articles, introductions to other authors’ books, individual poems and various miscellaneous writings. The notes below refer to a few of these items; a full list is to be found in Part 2. ‘Chile: The Dangerous Edge’ Although Greene spent time in Chile during the presidency of Salvador Allende in the early 1970s, the experience did not result in any fictional work. However, his essay ‘Chile: The Dangerous Edge’ provides a vivid account of the precarious state of the short-lived socialist state, soon to be replaced by the Pinochet dictatorship. There are four typescript copies of the article written for the Observer colour 79

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magazine. The first copy has a note in Josephine Reid’s hand, ‘as altered for the Observer publication after consultation with GG’. It is unclear whether or not the editorial decision to make changes refers to controversial political remarks Greene made in the original draft. ‘Death of a Widow’s Son’ This undated short story is a typescript with authorial revisions; it is an early version of the story ‘The Second Death’, written in 1929 but not published until 1947. The story has also been referred to as ‘The Widow’, although it was never published under this title. ‘The Man who Stole the Eiffel Tower’ ‘The Man who Stole the Eiffel Tower’, a short story published in 1956, is a holograph started on the back of a postcard of the Tower and continued and finished on Albany notepaper, with authorial revisions. The postcard section of the story has a section omitted from the published version.

‘The Nightmare Republic’ ‘The Nightmare Republic’ is a holograph with revisions of the article on Haiti published in September 1963. There are also a heavily revised typed first draft and a more lightly revised second typescript. The Stranger’s Hand There is material relating to the film treatment for The Stranger’s Hand in two parts of the collection. Box 2 contains two manuscript and one typescript copies of the treatment. Box 30 has a thirty-page manuscript together with additional notes including alternative suggestions for the opening. There is a brief ‘voice-over’ introduction, ‘Venice is a border city. A 80

short stretch of railway line, a few miles of lagoon . . .’. The whole unfinished and undated holograph, the basis of a film made in 1954, runs to around 17,000 words. It includes some material crossed through by Greene  – Parts  2 and 3 of Part I, chapter  1. Both of these deleted sections are included in the later published versions of this incomplete story  – The Graham Greene Film Reader: Mornings in the Dark and the Hesperus Press No Man’s Land. It is thus a later and longer version of the story than the one in the uncatalogued material referred to below. ‘The Revolver in the Corner Cupboard: An Autobiographical Sketch’ The three-page holograph of Greene’s famous essay about playing Russian Roulette, The Revolver in the Corner Cupboard: An Autobiographical Sketch’, is contained in a 96-page notebook. The other pages are left blank suggesting that the writer might have intended to include further autobiographical sketches but decided otherwise.

‘Go Slow’ and ‘Song for Three Ageing Voices’ The two poems, ‘Go Slow’ and ‘Song for Three Ageing Voices’, are rarities. The holograph of the latter work, published in Punch in 1954, includes a note from Greene to his secretary Doris Young. He asked her to send it to the magazine adding modestly, ‘It’s probably not up to Punch standards’. ‘Two Gentle People’ This short story was first published in March 1967. A page of holograph notes is headed ‘Brasserie Lorraine July 1966’,

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which features in the story; it may be another example of a Greene story based on overheard restaurant conversation. There is Greene’s holograph of the story and a typescript dated August 1966.

Unpublished Works There are a large number of Greene’s unpublished writings at the HRC. These works, several of which were unfinished and abandoned, are of particular interest. They vary considerably in type and scope and were written at different stages of the author’s long career  – although one cannot be precise as several are undated. Some are finished, often revised pieces of work, clearly intended for publication. Others, such as the journals were not. Once again, the listing here broadly follows the HRC method of cataloguing and is arranged alphabetically by title although some more minor items are grouped according to type. The first three items are all included by HRC in the folder ‘A-B; Unidentified’. Essay on Maria Newall This untitled holograph four-page essay is dated August 1954 (wrongly, it seems); there is a slightly altered typed version at Boston. In 1949 Maria Newall moved from England to Kenya and ran a farm there, and Greene met her in 1953 when he visited Kenya to report on the Mau Mau rebellion. The piece was never published as a separate essay, but formed part of one of Greene’s Sunday Times articles on Kenya in 1953. Untitled story (1) This unfinished fragment of what might have been intended to be a novel is undated, but Greene’s style of handwriting suggests

perhaps the 1940s. There is no title, and the piece runs to twenty-two foolscap pages in a bound notebook. ‘Part One’ consists almost entirely of chapter 1, ‘The Funeral of the Father’, with only three pages of the unfinished chapter  2, ‘The Oldest Friend’. There is no Part Two. There are autobiographical details and possibly some echoes of the play The Potting Shed. The central character, Robert Daish, lives in Nottwich, and has not seen his father for a while. F. C. Daish, the father, is the author of The Fallacy of the Supernatural. The story begins with a description of Nottwich, and we are introduced to the Daish family on the occasion of the father’s funeral. Robert Daish, we are told, went to Oxford, got second-class honours in Modern History, and is now a sub-editor for a provincial newspaper, the ‘Journal’. Untitled story (2) Another unfinished and untitled story  – perhaps intended as a long short story or even a novel – is a holograph manuscript of eleven pages. The whole story is headed ‘Part One’, then sub-divided into sections 1 and 2. A note at the top states that the short story ‘Men at Work’ was extracted from this longer story – it is largely indeed a close reworking of section 1 of that story. This section thus concerns the meeting of the Book Committee of the Ministry of Propaganda, and one of its members, Skate. The second section follows Skate in a comic interview with a Mr Drain, an American he wants to persuade to write a pamphlet. He later spends time in his cottage in the country with his wife and daughter. The story peters out as Skate goes for a walk and visits locals Mr and Mrs Purvis. 81

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Address at Edinburgh University Greene’s Address at Edinburgh University on 6 July 1967 on receiving the Honorary Degree, Doctor of Letters, is a witty, erudite and modest piece which was never published. There is a holograph manuscript and two four-page typescripts, all with Greene’s revisions. ‘Alas! Poor Maling’ Script Greene’s script of his story for the television series Shades of Greene is dated January 1974. The holograph with revisions is accompanied by a draft typescript with authorial revisions and some suggestions in another hand, which Greene has accepted. ‘A Birthday in October’ This is an unpublished short story of three pages in typescript, dated ‘Jan 64’ in pencil. There is Greene’s holograph original and two typescripts, with Greene’s revisions and deletions. The story is a mystifying one of a young woman receiving a parcel on a day which might be her birthday.

‘A Christmas Broadcast by Henry II’ This is a decidedly quirky, fifteen-line prose piece which Greene entered for the Spectator Competition in 1970. It failed to win. The Clever Twist: A Melodrama in Three Acts The play was clearly intended to be a significant piece of writing. However, Greene abandoned it after just eight foolscap pages of dialogue. Three pages of notes accompany this drama which is set in the capital of a ‘Democratic Republic . . . somewhere in the Far East’. Although the holograph is undated, the 82

notes are on headed notepaper with the writer’s Albany address, suggesting it was written in the decade after 1953. The existing dialogue features two characters, Mr Brinton, a middle-aged British journalist and Mr Tung, a young and articulate government ‘minder’. The opening scene implies that this is a new republic in the process of establishing its democratic identity. The government is evidently suspicious of the journalist’s motives and Tung is instructed to commandeer Brinton’s passport, even though it was stamped on arrival in the country. Tung questions why Brinton had decided to stay at a hotel rather than join his fellow journalists at the press camp. Meanwhile, the electricity only functions intermittently and the handbasin has no plug. The piece ends with Brinton hastily secreting a paper in the pipes in the bathroom. ‘The Dangerous Edge’ This is the heading Greene gave to the diary he kept of his visit to Chile in 1971; he used the same phrase in the article he later published about the country. The sixteen-page handwritten diary runs from 11 September to 11 October 1971. There are entries for every day of his visit, most of them quite lengthy. He travels around the country, meets the socialist President Allende, sees a student demonstration, develops a touch of fever, notes Chilean customs and traditions, meets eighty priests who had signed a declaration in support of socialism, and notes the main Chilean newspapers and their political leanings. At the end is a page of notes, many in the form of questions, perhaps as an aid to writing his article.

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Fanatic Arabia Fanatic Arabia is a fragment of an abandoned novel, which judging by the appearance of the author’s handwriting, and some references made in the text, probably dates from around 1927–8. It consists of a title page and seven foolscap pages of manuscript. The narrative commences with a coach stopping for a thirty-minute break in a town near London which is instantly familiar to the central character Heinz. Although called ‘Boxstead’ this is clearly Berkhamsted: ‘A canal, a common, a market hall, a few stones they called a castle, an old grammar school, a memory at every step . . .’. The main themes of the opening passage concern identity and place. Heinz’s memories of childhood are aroused by his brief stay in the town: ‘Boxstead had borne him in a twilight sleep, Rio and Freetown had only educated him, and he recognised the faint pull of the suburban breasts’. Greene’s chosen epigraph for this book is the opening paragraph of C. M. Doughty’s two-volume travelogue Arabia Deserta, which provides the unusual title. One can speculate that Greene’s drab and depressing description of Boxstead – ‘he drank up the coffee and went out: the air was cold and damp: the rubbish fumes were blowing his way’ – was deliberately intended to contrast with Doughty’s flowery and effusive descriptions of a faraway and exotic land. Greene has added a note on the title page of Fanatic Arabia, ‘Traces of two novels never gone on with’ and indeed one is immediately familiar with the setting, with Heinz the ‘troubled’ outsider and with the writer’s

acute ear for contemporary dialogue. Thus, this fragment constitutes a fascinating forerunner of Greene’s fiction of the 1930s, redolent with the psychological preoccupations and grounded realism of such novels as It’s a Battlefield, A Gun for Sale and Brighton Rock. ‘For Vivienne: A Private Book’ This is a 49-page foolscap-sized bound volume given, the title page says, to Vivienne Dayrell-Browning at Christmas 1926. (The couple married in October 1927.) The holograph volume has unpublished poems by Graham Greene as fair copies and sometimes in draft form, with some paste-ins – a few of the latter are printed versions of Greene’s published verse. Poems have been added beyond 1926, the last one dated 1932. After poems by de la Mare, Hardy and Donne on the title page there are around thirty of Greene’s poems, most of them love poems to Vivienne and many remembering particular moments or episodes. Inside the bound volume Greene has written ‘For Vivienne. A Private Book which will never have an end. All the verses, indiscriminate of value, which you caused.’ A wild flower is attached. Occasionally Graham Greene has added a few words of comment and expressions of love for Vivienne. The first twelve poems are written into the book in Greene’s best hand, as presented to Vivienne in 1926. The next poem is copied into the book in Vivienne’s hand, though it is not clear who the author of the poem is. The remaining seventeen poems are pasted in, all in Graham’s hand, apart from four where there is a printed version. Finally, near the end of the book 83

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and upside down is a poem apparently by Vivienne to Graham on his birthday (2 October) 1928, ‘Ode on a State Occasion with a picture of a bird and The Tower.’ ‘On the 40th Anniversary of the Russian Revolution’ This is a short ‘open’ statement to mark the anniversary of the revolution of 1917. It was composed during Greene’s visit to the Soviet capital with his son Francis in 1957. He writes about the affinity between his country and Russia, the optimism he felt at Oxford in 1922 about the future of the nation, the way comradeship had been rekindled during the Second World War, the obvious schism caused by the Cold War and his hopes for the future. The statement is written on Hotel Metropol notepaper which bears the ‘Intourist’ logo of the state-run organization. The grand old, centrally situated Moscow hotel was one of a select few in which, until the late 1980s, all foreign tourists were required to stay. Horror Comic The play Horror Comic comprises three holograph pages with authorial revisions. It is dated 1 November 1956 and was planned as a three-act play. The setting is a middle-class living room above which is a bedroom/workroom which appears to be in part a chemistry laboratory. It is visible to the audience. This room belongs to the fifteen-year-old son of the household Julius who, as the dialogue starts, is bringing in a number of heavy boxes with the aid of an inebriated middle-aged man called Willie. The nanny enters and Julius has to blackmail her into not mentioning the presence of the disreputable Willie by threatening to disclose to his parents

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her drink habit which Julius himself is feeding. The fragment ends with a further stage direction which shows Willie and Julius erecting a screen in the bedroom which means that the audience will not always be privy to what is going on behind it during the ensuing action. ‘The Strange West End’ There are undated manuscript and typescript copies of Greene’s essay ‘The Strange West End’. The manuscript has an alternative title, ‘A Hundred Yards from Piccadilly’. The revised and apparently complete condition of this essay, about an American Evangelical meeting in a Central London cinema, leaves one to speculate why it was never published. Greene, in amusingly ironic tones, describes the congregation as comprising, ‘at first sight . . . an enormous gathering of landladies’ while the assembled pastors all seem to have the same ‘Will Rogers’ voice. A House of Reputation Greene’s full-length play A House of Reputation had a very long gestation period and was only completed in the mid-1980s. The Austin collection has both manuscript and typescript copies. Both are undated. ‘Indo-China Diary’ This is a five-page holograph running from 14 to 17 February, but without a year indicated; it seems likely to be 1955, the last of Greene’s four winter visits to Vietnam. Greene appears to be collecting information from informants  – ‘R’, ‘K’ and ‘L’  – as well as forming his own opinions on the political and religious situation there. The phrase he used in his

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1955 article on Ho Chi Minh, ‘The Man as Pure as Lucifer’, is noted here, and there is evidence that Greene is keeping a further record of his visit: at one point he writes, ‘See diary’.

Journals ‘The Defenders’ and ‘During the Second Siege of London’ The author wrote two journals in London during World War II. The first, entitled ‘The Defenders’, describes his experiences during the major aerial assault on the capital in 1940–1. ‘During the Second Siege of London’, an account of the V1  ‘flying bomb’ attacks in the summer of 1944, is unpublished. ‘The Defenders’ is a ten-page foolscap journal. Greene has added to the title ‘Some notes on the defenders of London written during the air war of 1940–41’. It was published almost in its entirety in Ways of Escape. The manuscript is accompanied by five pages of writing in an unknown hand together with a note by Greene that he found the assorted papers in a bombed-out house while he was on air raid warden duties. One page appears to be a draft of an amorous letter by a secret lover. ‘During the Second Siege of London’ is a fifteen-page journal with daily entries made between 22 June and 19 July 1944. It is a remarkably vivid, first-hand account of the flying bomb raids, which for ordinary citizens was a quite terrifying new form of warfare. The journal was not revised by the author and this lends a freshness and immediacy not present in other, more polished pieces of writing. Greene captured the feelings of uncertainty and dread in his first entry of

22 June: ‘. . . the mysterious alert which went on and on from about 11.30 pm to 9.30 the next morning’ and then, ‘. . . the first time one saw the rocket bombs – first from the bedroom window, two tennis balls of red light following each other diagonally across the window frame’. Later he added, ‘What strains one the most is to walk through traffic during an alert: it is impossible to hear the bomb overhead and every bus and every car seems to imitate the sound of an engine.’ However, everyday life in the capital had to continue as normal. The writer kept lunchtime dinner appointments as part of his then part-time employment with Eyre & Spottiswoode. His thoughts on these encounters were often included: ‘A rather dreary lunch with Montano and Kathleen Raine at the Coquille. She wants to start an “international review” and find a publisher. Oh dear, oh dear, oh dear’. He visited his wife and family at Oxford and met the ‘terrifying’ Miss Rendall, the headmistress of his daughter’s school: ‘An old fat woman with a back like Danton: a too patent effort to disown one by calling her “darling Caroline” in every other sentence’. The summer weather was dreadful during this period which added to the general misery. 3 July, for example, was ‘a terrible day of pouring, soaking rain’. Greene irrationally convinced himself that it was caused by divine intervention: ‘An odd thing is the personal indignation with God as this appalling weather continues: I lay in bed yesterday morning muttering angrily to myself about it’. As with other journals he wrote in unusual and often dangerous circumstances, Greene punctuated the 85

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narrative with small, often emotionally detached observations. After witnessing the damage caused by two bombs, one in Russell Square, the other close to Piccadilly, he wrote, ‘A bomb is always exaggerated afterwards: the description is borne in the moment of confusion, and the truth lags behind.’ After a V1 had demolished a bus in Tottenham Court Road he noted, ‘The sinister group of old ladies behind a table answering questions  – “Incident Point”, the inevitable cups of tea on the table’. The journal ends abruptly on 19 July. There appears to be no specific reason for this as the raids were to continue, albeit sporadically, for a further six weeks. Perhaps Greene had concluded by then that his journal had served its purpose.

Other Journals Three other journals record Greene’s impressions on return visits made to Bombay, Mexico, Havana and Vietnam in the early 1960s. The writer found it strange to go back to Mexico after twentyfive years, ‘a place so important in my life’. He noted, ‘I was young and poor in those days and I grew to hate Mexico’. He was there for four days. It was not his original intention to visit the country but the theft of his travellers’ cheques and a flight delay resulted in a four-day stay. His destination was Cuba where he stayed for a fortnight. His onward journey to Haiti included a brief visit to a beach resort in Jamaica. He wrote of his ‘horror’ of resorts and how one could never have a love affair in such a place. On the same page are the opening paragraphs of his short story ‘Cheap in August’ about a couple who do just that. 86

The Bombay journal consists of five foolscap pages which fundamentally consist of a number of impressions of the sights he visited in the city. The much longer Saigon journal, which probably dates from December 1962 to January 1963, gives Greene’s impressions of how the country had changed after an interval of several years. Lucius In A Sort of Life Greene refers to an unfinished novel of his: ‘a school novel of a timid boy’s blackmail of the housemaster who had protected him’. This novel is Lucius, the holograph manuscript of which is at the HRC; it runs to fifty-two pages and around 18,000 words. It is undated, but the style of handwriting and clues in the text suggest a date in the 1950s. Above the title of the story Greene has also written ‘No.15’. He had written ‘Novel Number Thirteen’ on the manuscript of The Quiet American (published 1955), which places Lucius somewhere between Our Man in Havana (1958) and A Burnt-Out Case (1961), or a little earlier if Loser Takes All is part of this numbering system. A letter from Greene to Gillian Sutro in February 1959, in the Bodleian Library, refers to Lucius as an already abandoned novel. The story opens with the Foreign Secretary, Sir Luke Winter, returning to his old school to give a speech at prizegiving. The town is Bristow, recognizably Berkhamsted, with its canal, King’s Arms, Town Hall, flinty church with crusader helmet, and school quad. The question arises as to what happened to one of Winter’s old teachers, Stonier. It transpires that he left the school and

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later killed himself. Winter meets his old school matron, who asks him, ‘Do you still betray your friends?’ The story then switches back to the first term at the school and Winter – school nickname ‘Lucius’ – and proceeds to unravel the story. We hear of Lucius being bullied, but protected by Stonier, and of Lucius becoming aware of a developing secret relationship between Stonier – a married man, we learn – and Miss Wilson, the school matron. The story finishes, incomplete, at the end of Lucius’s first term at the school. Greene obviously thought better of putting the visit of Sir Luke Winter to Bristow as the first chapter of the novel: the manuscript has it originally as ‘Chapter  1’, then ‘Prologue’, both crossed out, then finally ‘Epilogue’. With this material at the end, the novel would have been more like Greene’s story ‘The Basement Room’, or L. P. Hartley’s The Go-Between. Instead of starting with the here and now and then revealing past events to explain already-identified actions – the suicide of Stonier following his betrayal by Lucius – the story would end with an adult showing in his character the results of his boyhood actions. ‘Mr. Cinderella’ This is an undated poem in holograph and typescript, the latter with authorial revision. It seems to be a satire on the romance between Princess Margaret and Group Captain Peter Townsend, and so would date from the mid-1950s. ‘Mr Conway’s Congress’ This is an unpublished story of around 11,000 words, thought to date from 1962. ‘Mr Conway’s Congress’ may or may not be unfinished. There is a holograph

version and a typescript, both with authorial revisions. The story concerns James Conway, an English writer, winner of the Nobel Prize, who is reluctantly and wearily attending a congress of the International Writing Club somewhere in South America. There is mocking humour at the nature of such gatherings, and much of the story is conveyed through dialogue. Similarities between Conway and Greene are evident  – the world traveller, an unwillingness to make public speeches – but the likeness is very far from exact. The section and page numbering suggest that the second part of the story has been written at a later date, and this is also evident from the pattern of revision – quite extensive in Greene’s hand in the first part, much less frequent and in another hand in the second. Greene has written four story titles on a card in the same folder – ‘Mr Conway’s Congress’, ‘Reading at Night’, ‘Cheap in August’ and ‘The Secret Society’. ‘Reading at Night’ is referred to below and ‘Cheap in August’ was first published in 1964. The purpose of this note is unclear. The idea for the story ‘Cheap in August’ was not conceived until July or August 1963 which suggests that the list had nothing to do with the A Sense of Reality collection which was published in June of that year. The story titled ‘The Secret Society’ seems not to have survived, unless it is the first glimmer of what eventually became the novel The Human Factor. ‘Never, Never Continued’ A one-page revised holograph story fragment is headed ‘Never, Never continued. About 1952’, but this is clearly 87

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not a title for the piece, which concerns the discussion by a group of children about how to go about burying a dead hedgehog. ‘New Statesman Weekend Competition 2,116’ This piece from 1970 is a holograph manuscript with revisions, beginning “You were mentioning hyperdermic syringes”, Aunt Augusta said, “I found them extraordinarily useless when I was trying to supply the Order of Saint Eustacia at Weybridge with novices.” It is another attempt by Greene to enter a competition to write a piece in his own style. Oh Damn Your Morality! This is another play which the writer apparently quickly abandoned. Only one foolscap page of a proposed three-act drama survives. An unnamed woman is moving into a flat; the removal men are bringing in boxes of belongings and asking questions about where to put various items. At the same time the woman is talking on the telephone and trying to keep the person at the other end from finishing the call. A three-way conversation develops, mostly at crosspurposes. There are two pages of notes which provide an outline sketch of the remainder of the play.

Poems There are three poems in this section apparently written at different times during the writer’s career. The first, ‘The Paradox’, is a 47-line holograph in blank verse with five stanzas of unequal length. Although undated, the appearance of the handwriting and the fact that it is written 88

on ‘The School House, Berkhamsted’ notepaper suggests that it is a very early surviving piece of work. Interestingly, the first two stanzas in particular dwell on the effect of dreams on a person’s consciousness, a theme which was to become a central tenet of the mature writer’s life: ‘I lived to show the strength that lies in dreams, / that come at morning, depart not at the dark.’ The second, ‘Song of the Cultivators’, consists of three pages of manuscript verse, composed in pencil on poor quality paper roughly torn from a notebook. This undated poem appears to be a set in a primitive society where power is exercised through violent acts. The third, a short, eight-line poem titled ‘For a Homesickness’, was almost certainly written in the months prior to the writer’s marriage to Vivien in 1927. It is an unashamedly romantic tribute to his future wife: ‘Home shall be here  – wherever your head shall be, / Lovely thoughts shall tiptoe to furnish your mind / And delicate dreams.’ It is dedicated to ‘V.D.’, Vivienne Dayrell-Browning. Prologue to Pilgrimage This early unpublished novel is thought to have been written in 1924, when Greene was still at Oxford. It had the earlier title Anthony Sant, the novel’s central character. The complete typescript of the novel at HRC runs to 243 pages, with very occasional revisions by Greene. There is another copy of the novel at Georgetown. ‘Reading at Night’ This unpublished short story of a little under 2,000 words is undated, but known to have been written in 1962. The holograph

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manuscript has Greene’s revisions; the first draft typescript is also revised, and a second draft incorporates these revisions; there is also a bound copy with authorial revisions, which render it just as in the second draft. The story concerns a winter’s night on the Côte d’Azur, and a man being frightened by a story he is reading. The story includes the phrase ‘the sense of reality’. Saint Joan: Screenplay Greene had six weeks to reduce a long play to a running time of less than two hours for this, his last screenplay adapted from the work of another writer, George Bernard Shaw, for the 1957 film directed by Otto Preminger. The first of three successive drafts of this screenplay begins with much holograph material, and a sizeable amount of cutting and pasting of sections from Shaw’s printed play with dialogue deleted. There is also some additional typescript which has been stuck in. A second, incomplete draft has less of the printed play and more typescript in evidence. The third draft, like the first a complete version, starts with much of the typescript from the second draft, and includes far more of the printed play, revised by Greene, plus more holograph material. Shaw’s epilogue to the play has been moved to the beginning of the screenplay, with the action of the film then told through flashbacks. The Word Pterodactyl or A Man of Extremes Two planned but unfinished stories date from 1963: a pencilled note reads ‘Unfinished. Abandoned novel and then started The Comedians’, while pages of notes torn from a diary seem to be from 1963. A first title given is The Word

Pterodactyl, with ‘An Entertainment’ written under it on the first holograph page. On the same page, a second possible title is A Man of Extremes, with ‘A Novel’ beneath; the word ‘or’ divides the two titles. There are six pages of notes, and twenty-seven pages of holograph manuscript amounting to around 13,000 words. An article ‘A Technique of Hypnosis’ from 1951 seems to have been part of Greene’s research. The evidence of this material seems to indicate that in 1963 Greene was deciding between two possible ideas. The notes for The Word Pterodactyl suggest an ‘entertainment’ involving Jekyll and Hyde, characters created by Robert Louis Stevenson, a cousin of Greene’s mother. A ‘good’ assassination is to be carried out, with Hyde becoming Jekyll for the purpose; the release word to produce the transformation from one to the other is ‘pterodactyl’. But the word is used accidentally at the moment of assassination, and Hyde takes over from Jekyll .  .  . This Jekyll and Hyde story seems not to have proceeded beyond the note-making stage. A Man of Extremes is the story that is pursued in the course of twenty-seven holograph pages. It is an unfinished novel using first-person narrative and set mainly in Haiti. The ‘I’ is Frėdėric Tournay, a Haitian hotel owner who returns to his country with an Englishman, Wilcoxon. The hotel is dilapidated and empty. We are then told about Wilcoxon’s history – a man once involved in forging a cheque, a selfstyled ‘Captain’ who has spent time with a mercenary army in the Congo and has been recruited by Tournay to train black troops in Haiti following the withdrawal 89

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of the US military mission and aid to that country. We come across ‘Ancien Minister’ Joseph Philipson, now out of favour with the government and needing to leave the country. Before the manuscript ends, we are also introduced to Dr Magiot, a medical man dedicated to treating the poor. Notes suggest Greene’s thoughts about how the story would develop: he speculates for instance, ‘When does W. first meet Magiot? Suicide in hotel?’ The unfinished novel was clearly Greene’s first attempt to shape a story around his recent visits to Haiti, and it contains material that feeds into The Comedians: Wilcoxon shares many of the characteristics of Jones while descriptions of Dr Magiot  – right down to the contents of his bookshelves – are repeated in the 1966 novel. ‘Two reasons for not writing to you’ and ‘To You being a hideous way off’ These two holograph poems are included in the T-Z folder. ‘Two reasons for not writing to you’ is undated but clearly from the late 1920s and written to his wife Vivien. ‘To You being a hideous way off’ was written in the summer of 1925 as Greene walked the countryside near Chesterfield in Derbyshire. ‘Table Talk’ ‘Table Talk’ has five snatches of conversation recorded by Greene – from the likes of the wife of the governor of Kenya  – in an official Sierra Leone notebook. It is not dated, but clearly dates from Greene’s time in the country during the Second World War. Under the Garden Blurb This is Greene’s typescript blurb for the never-published collection of short stories 90

‘Under the Garden and Other Stories’. It is dated October 1962, shortly before it was decided to abandon the planned format and include just the four stories which composed the published A Sense of Reality. In the blurb Greene describes some of these stories as black comedies, and comments more generally, ‘the author for the first time has allowed himself the liberty of fantasy, myth, legend, dream.’ New Statesman Competition Entries In the folder T-Z are three entries by Greene. The holograph ‘Extract from “Toll No Bells” by Graham Greene’ is the entry to Weekend Competition No. 1,621 in 1961. Greene won a prize for this fragment of autobiography in verse under the pseudonym Baxter. Two typescripts of the entry to No. 1,709, in January 1963, have a piece of writing by ‘Julian Glover’. ‘Preface’ is his holograph entry for another of the magazine’s competitions, No. 1,850 in 1965, where Greene wrote as Malcolm Collins and won second prize for an extract from a biography of his brother Hugh as written by Graham.

Miscellaneous Writing Essays Among these unpublished manuscripts are three pieces of writing which may have been intended as notes or first drafts but have no discernible connection with later, published works. The first is a group of five short essays composed on Greene’s Albany notepaper. Judging by the subject matter they date from the first half of the 1950s. In one the author reminisces about visiting Hanoi having just reread his own corresponding diary entry for the previous year. In another he

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speculates on the announcement of the first visit to Britain by Marshal Tito while a third records his thoughts having just watched the Lord Mayor’s Banquet on television. Although one might speculate that the above essays could have formed the basis of a regular newspaper column on topical issues, the context in which the second group was written is more problematic. They consist of nine, very poor quality, xeroxed typescript pages which one can accurately date to 1964. The Finding Aid slightly misleadingly names the piece ‘Places’ but that is the title of the first subject only. The collection also includes the writer’s thoughts on a number of additional topics: ‘Other Writers’, ‘His Own Work’, ‘Religion’, ‘Politics’, ‘Marriage’ and ‘Doctors’. The first person, conversational style, the inclusion of sentences such as ‘I don’t look for God up there, do you?’ and even the occasional use of inverted commas to indicate direct speech suggests this text might have been a rudimentary transcription of an interview sent to Greene for approval prior to publication. However, there are no published interviews conducted during this period which match the content. Despite the difficulty in identifying the source of this text, it does provide some interesting insights into a range of matters of obvious importance to the writer. Some of the views expressed are familiar, others are not. ‘The Book is furnished by the Gideon’s’ As the title implies, this concerns the inclusion of copies of the Bible in most hotel rooms. The single page undated

manuscript containing notes and biblical references starts, ‘A Bible in every hotel Guest Room. Winning commercial men for Christ. Good news’. Greene has then selected some appropriate quotations and added references, for example, ‘“If you are in trouble .  .  . Psalm 34”’; ‘“If trade is poor .  .  . Psalm 37”’; ‘“If you desire something new .  .  . John 3, Revelations 21”’. ‘Paper on General Views and Opinions’ There is a further piece of miscellaneous writing entitled ‘Paper on General Views and Opinions’ which also has no connection with other published work. It takes the form of a ‘spoof’ questionnaire. The ten questions appear to have been set by Vivien and are answered by Graham. The tone of Greene’s responses indicates that the questionnaire dates from the period immediately before or after their marriage.

Series II: Personal Papers, Journals and Diaries Diaries 1932–3 Two holograph notebooks contain Greene’s personal diaries which date from 3 June 1932 to 13 August 1933. Initially he uses the right-hand page of each notebook for his entries and then, presumably as an economy measure, works through the book a second time using the left-hand side. The diaries provide a fascinating insight into his early career when he was attempting to support himself and his wife solely through writing while living in a cottage in Chipping Campden in the Cotswolds. The first few entries describe the struggle he experienced with the writing 91

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of Stamboul Train, which he called ‘The Express’. On 3 June 1932 he had managed ‘500 sticky words’. Three months later he wrote, ‘Read to V. the last part of Subotica chapter and was depressed by it’, adding later, ‘Did proofs in morning, depressed by the sentimentality and banality of the work’. He sent the typescript of Stamboul Train to his publisher in early August 1932 at a particularly low point, fearful of the consequences of his precarious financial position. He wrote, ‘Although I have been given till Sep 15 to pay the remainder of my income tax, I am to all intents minus about £30 with no guarantee of any money or employments after Christmas.’ However, Stamboul Train was well received, becoming the Book Society choice for December of that year. He wrote that he was ‘thrilled in a childish way’ to read the first reviews of the book and in May the following year he experienced ‘A lovely and exciting day’ when he received a cheque for the film rights to the novel which, at a stroke, eased his immediate financial problems. The entries for 1932 particularly show a young author short of confidence, unsure whether or not he had a future as a full-time writer. He visited the offices of the Observer where he elicited a promise from an assistant editor that he would let him know if a vacancy occurred. He met the author Arnold Bennett and thanked him for his earlier, positive review of The Man Within. He was cheered when his brother Raymond told him that at least one Book Society judge had liked Rumour at Nightfall, his second published novel. He was also encouraged by the fact that his short story ‘The End of the Party’ was to 92

be included in the anthology Best Stories of 1932. The diary also records some of the minutiae of everyday life in the countryside. He frequently went for long walks, with or without Vivien. He wrote about the visitors to their cottage and about local people they came to know. When the prospect of moving to Oxford arose, following the successful sale of the Stamboul Train film rights, he commented, ‘If we move to Oxford I shall miss the country, and the quiet aesthetic pleasures of merely walking down the High Street . . .’ Sections of some pages have been torn from the diary. Although this was done crudely it has nevertheless effectively removed any trace of the subject matter. It is thought that these missing parts refer to the writer’s encounters with prostitutes. However, not all references to a part of his life Greene wanted to keep secret have been successfully eradicated as he mentioned on more than one occasion visiting ‘A’, thought to be his favourite prostitute. Date Books In addition to his occasional diaries and journals, Greene also kept so-called Date Books between 1957 and 1977 and these have survived in seventy-four separate, pocket-size, spiral-bound booklets, each one covering a quarter of the year. The entries are not made methodically, suggesting that these were useful quick reminders and no more. He frequently commented on the weather, ‘wet’ or ‘a lovely day’ or what he had done that day, ‘awful dinner with .  .  .’ He made lists of people he was seeing or visiting;

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he also recorded his current reading list. Occasionally he wrote on the few blank pages at the end of the books. For example, in 1964 he made a rough draft of the strongly worded letter he wrote to Ralph Richardson concerning his portrayal of the Father in Carving a Statue. Notebook 1930s The notebook has twenty-two pages of holograph material. Although dated 1936, there are only a few dated entries, from 6 January to 26 April, the rest being notes from a wider period – there is a handbill from 1933, and two pages of ‘Notes for Mexico’ (about religious matters), presumably from 1937 or 1938. The notebook contains bits of gossip, observations (‘March 27  – The public deaths are always of the poor’), two character outlines, a plot about an unfaithful wife, details of a dream and several quotations. Some material has been stuck in, and some inserted looseleaf – a love poem to Helgra ‘picked up on Clapham Common’, and two torn-out newspaper articles, one on persecution in Mexico, the other about the counting of children for Ministry of Health purposes. Dream Diaries 1964–86 Graham Greene’s dream diary, A World of My Own, was published posthumously in 1992, and draws on diaries he kept over a long period. There are six holograph diaries, from 6 October 1964 to 30 April 1965, 1 May 1965 to 19 September 1966, 30 January 1972 to 29 January 1975, 3 February 1979 to 2 July 1980, 31 December 1980 to 1 May 1981, and 1 May 1983 to, it seems, 16 August 1986. In total, the six volumes run to around a thousand pages. Some are bound and in a

slipcase, and all are original manuscripts, except the 1980–1 volume, which is a photocopy inscribed to the book dealer Rick Gekoski. In the first volume Greene has written ‘This is the first of five volumes which I have kept. I have ceased to keep such diaries’; it is dated February 1990. His title for this first volume is ‘The Night Life of a Sexagenarian 1964–5’. Greene clearly regarded them as important volumes. The first diary gives some indication of the frequency of Greene’s dreams and his care in recording them. A sevenmonth period in 1964–5 has around 120 nights of dreaming recorded, with one or two lengthy gaps  – one during a period of illness, he notes. Many of the entries are of two or three pages, while some are as short as a single line. A dream of 11 November 1964 finds him staying the weekend with Sir Alec Douglas-Home, the recently defeated prime minister; Sir Alec is now married to Catherine Walston, and Greene comes across Dorothy Glover, who tries to teach him the waltz. The day after the dream, Greene notes, he received a letter from Dorothy Glover – an illustration, he believed, of his ability to have a precognitive dream, foretelling something in the future, as outlined in Dunne’s An Experiment with Time. Other such examples are noted. Some dreams are marked with a tick, indicating their future use in A World of My Own. Greene has collated a name index for this volume – ‘Yvonne’ [Cloetta] has twenty-four entries listed, ‘Africa’ seven. This indexing of his dreams continues into Greene’s other volumes. In the second diary, for 1965–6, there is an index of proper names, and a ‘General Index’. 93

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‘Football’ and ‘Edward Heath’ have one entry each, ‘Mothers’ has seventeen, ‘Anger’ gets twenty, ‘Dead, Images of’ has thirty, while Yvonne Cloetta is again the most frequent entry, with fourty-four. The pattern of meticulous recording and indexing of dreams continues throughout the six volumes. Sometimes Greene not only records single dreams, but reflects on the nature or pattern of his dreams: ‘It is strange how many of one’s night hours, now in age, are spent with public figures’, he notes at one point. Occasionally the dream diaries show some confusion over dates, and in one, that for 1972–5, there are loose-leaf inserts, with Greene recording his dreams while away from his diary. Notes and Dance Card 1926–76 This very mixed bag of material includes a programme for a ball at Trinity College, Oxford in 1926 and a Christmas menu from aboard M.V. SOBO, signed by Greene, among others. An envelope flap has a plea from Vivien that he will write to her from China, and an acerbic reply from Greene. There are notes in Greene’s hand, dating from March 1976, for a talk at a lunch with the US Press Corps, stating that he has great admiration for them, and urging them to ‘take up a neglected cause – Haiti’. Holograph and typed telegrams from the following year are directed to the cast of Greene’s play The Return of A.J. Raffles. Address Book 1967–73 This book shows the wide range of Greene’s friends and acquaintances, and a mournful list of those who have died during 1972–3  ‘whom I have known well, or little’.

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Series III: Correspondence Letters from Greene A-Z There are around eighty letters from Greene, the great majority dating from the 1950s to the 1970s. Most are handwritten. Over half are letters written over many years to various publications – the Daily Telegraph, Economist, New Statesman, Picture Post, Spectator, Tablet, The Times (the most written-to newspaper) and The Times Literary Supplement. Issues of foreign affairs are often the subject-matter, but the range also covers events such as a postal strike in the United Kingdom and the Great Train Robbers. A great many of these letters were published. There is also Greene’s holograph entry to the New Statesman Competition No. 2,233 in December 1972, written as ‘J. R. Ferris’ while in hospital. The very earliest letters are from around 1925, to the literary agent A. D. Peters. They mainly concern Greene’s unpublished first novel, Anthony Sant, written while he was at Oxford. Greene was so anxious to have the book published that he offered a series of alternative titles, and made suggestions about changing the novel to make it publishable. He also told Peters that he had written the first 20,000 words of a ‘shocker’, in the hope of getting it serialized; nothing came of it. The topics of other letters are very varied, from Greene’s refusal to allow the use of a Topolski illustration in 1963 to his resignation from the American Academy in 1970. There are a dozen letters from 1950–2 to Emmet Hughes, articles editor of Life magazine, about the work Greene

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did for the magazine. In February 1952, Greene wrote, ‘As for Malaya, I never want to see the place again!’ Tom Burns There are twenty letters from Greene to Burns, from 1975 to 1990, some handwritten, original versions of those in the larger collection at Boston College. There are also typescripts of two Greene poems, ‘Winter Country’ and ‘The Grave in the Forest’. R. N. Green-Armytage (Uncle Bob) A holograph letter to his uncle dated 26 December, possibly from 1931, includes a poem ‘My Ballade Against Certain Reviewers’, in which Greene pokes fun at reviewers Gerald Gould and Harold Nicolson in particular. Vivienne Dayrell-Browning Greene wrote a prodigious number of letters to Vivienne Dayrell-Browning for over two years from July 1925 until September 1927, shortly before their wedding. The correspondence, which consists solely of Greene’s own letters, occupies four boxes and some twenty folders. They were invariably tender, caring and passionate in tone. Clearly the two young people were besotted with one another and the deeply romantic nature of their relationship meant that the vast majority of what Greene wrote about centred on the two of them. The rest of the world had become an unnecessary intrusion. Thus, not seeing one another during the week, Greene’s move to distant Nottingham in 1926 to work on a local newspaper and the attitude of Vivienne’s mother towards their courtship were

examples of barriers to their otherwise unbridled happiness. Greene adopted a conversational style throughout. He made very liberal use of the word ‘Darling’ at every turn; thus ‘Darling, I want you terrifically’ and ‘Darling, darling, darling, I love you so frantically’. He often drew a star after a sentence as if to dramatize his feelings. Inevitably, there were tensions. When Vivienne’s mother demonstrated her possessiveness during a visit to her house, Graham complained she had, ‘spent her time impressing on me the fact that you’d got to be kept happy’. However, this was a comparatively rare example of what might otherwise be construed as a weakness in expressing his irritation. For the most part he adopted the conventional gender role of the time, that of the strong male caring for the delicate and emotionally fragile female who needed to be protected. Thus, in one letter he was deeply sorry, ‘for the nip in the [his] letter. I wish to God I never put it’. In another, Vivienne was, ‘in a tizzy because mummy has been horrid’. Greene’s eminently rational reply was in turn reassuring, supportive and placatory. It is noticeable that the overall tone of the writer’s letters did not change over this lengthy, two-year period apart perhaps from showing an ever more intense excitement at the prospect of their impending marriage. It is impossible to tell from these letters if this romantic yet chaste relationship was what the deeply sexually charged Greene really wanted or if he was adopting a role simply designed to please a person he genuinely loved.

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John Hayward John Hayward is perhaps best known now for his friendship with T. S. Eliot and his involvement with the writing of The Four Quartets. His occasional correspondence with Greene covered over thirty years; during the 1950s the writer and Catherine Walston paid particular attention to Hayward’s needs as a wheelchair user. An early contact appears to be Greene’s postcard in October 1931 thanking Hayward for information about the Earl of Rochester; Hayward had published his own biography on the same subject five years earlier. The relationship is in part professional and in part social  – and often trivial. In 1955 Greene wrote with three pages of detailed comments regarding the translation of Allegra Sander’s book, Men: A Dialogue Between Women. He was particularly concerned to secure a good translation for this Cresset Press publication for which he had provided a preface. Hayward was the Cresset’s editorial adviser. He also clearly valued Hayward’s opinion, sending him the revised play script of The Living Room in 1952 and requesting a meeting to discuss what he had written. The less serious side of their friendship is shown in their apparent interest in ‘naughty’ seaside postcards. Exchanges of these were usually accompanied by various private messages replete with sexual innuendo. On one duplicate from his private collection, Greene pasted a newspaper headline, ‘Lord Rochester: An Outstanding Methodist’ and changed the ‘Outstanding’ to ‘Upstanding’.

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Michael Richey Greene enjoyed a lasting and warm friendship with Michael Richey. The correspondence in the collection consists of approximately 100 letters and postcards from Greene which date from 1954 until shortly before the writer’s death. Much of it centred on various plans to meet for drinks, preferably in Brighton; a shared interest in literature; offers by Greene for Richey to stay at his house on Capri and Richey’s contributions to nautical journals. There is a single letter from Yvonne Cloetta in 1991 in which she expressed her hope of seeing Richey at Greene’s Memorial Service. and confessing that she was frightened at the prospect of the occasion. George Russo Russo was an Australian author to whom Greene wrote two letters in 1989. In one he described Father Caraman as ‘a Jesuit whom I dislike very much’, and explained why, and in the other he described the first volume of Norman Sherry’s biography as ‘far too long and full of irrelevant detail’. Third Party Correspondence, A-Z In spite of the title, this includes a letter from ‘Hilary Trench’ – Greene himself.

Series IV: Laurence Pollinger General Files The Laurence Pollinger General Files consists of some forty-four boxes each containing folders of correspondence which are arranged monthly, bi-monthly or quarterly according to volume and date between 1950 and 1991. In view of the very sizeable number of documents in

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this collection around 20 per cent of the archive was sampled. 1950–1 Most of the communications at this time were handled by David Higham who Greene dealt with extensively prior to the Second World War along with Nancy Pearn. In 1950 there are many letters between Greene and Pollinger, and from third parties writing to Pollinger about matters concerning Greene. Many deal with issues like payment, income tax and contractual arrangements, but the letters also give an indication of the extent and nature of Greene’s creative work in 1950. This included the film story The Stranger’s Hand; ‘The Harz Mountain Story’; Nobody to Blame; a Greene first film treatment of Norman Douglas’s South Wind (from 1949); a Guy Elmes script for a film of ‘Across the Bridge’; the possibility of MGM making a cartoon version of The Little Fire Engine, or of some of his short stories, to fulfil contractual commitments; and the play version of The Heart of the Matter, staged in Boston. In 1951 much of the correspondence was dominated by discussions about the writer’s forthcoming major novel The End of the Affair. The various exchanges are illustrative of the nature of the writer’s relationship with his agent. They show, not for the first time, how Greene closely scrutinized all aspects of the publishing, marketing and sales together with the financial matters relating to his work. For example, in February 1951 he wrote to David Higham that he was ‘awfully

puzzled’ to see that the ‘Zurich’ edition of Journey Without Maps included the first part only. He advised that unless an adequate explanation was received ‘strong action’ should follow. Greene was quick to point out any shortcomings, particularly when he discerned errors concerning money. He took Higham to task, for example, for not ensuring that certain of his royalties were paid into ‘The Trust’ account, grumbling, ‘What was the point of setting it up?’. In some cases Greene instructed his agents to take charge of difficult matters such as when there was a dispute with MGM over the fulfilment of his contract with the film company. At other times, however, he chose to deal with issues directly. In July 1951, he wrote to his Italian publisher complaining about the poor translation of The Heart of the Matter. Greene alleged that a friend had told him that ‘the whole book is written in the style of a cheap newspaper feuilleton’. He threatened to block the publication of The End of the Affair in Italy unless he received appropriate reassurances. 1955 With Greene away during much of the first half of the year, there are few letters from him. As ever, there is much material on foreign editions and rights. Greene turned down a request to write an introduction to a book to be published on the centenary of Lourdes in 1958. With The Quiet American appearing late in the year, much of interest concerns that novel. Greene wrote to Victoria Ocampo on 4 July that he had finished the first draft but that there was a great deal of work still to be 97

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done. On 22 July he told David Higham that the work of revision was finished. In December Greene again wrote to Higham, asking on that occasion if he could secure another £500 advance on the novel from Heinemann, for his mother, to ‘tide her through until the spring’. 1960 As Greene’s career progressed, so the volume of material in the Pollinger files increased. A detailed royalties statement in July shows how widely translated his works now were. There is much documented on Our Man in Havana, then Greene’s most recent novel. One letter refers to Bulgarian and Hebrew translations and to rights to the book in Hindi. In April he turned down a request to write a screenplay, writing irritably to Pollinger, ‘It’s no earthly use your sending me scripts. I have always insisted on doing no work except on my own stories.’ With Swedish and Norwegian editions of A Burnt-Out Case being published in 1960, before the UK edition in January 1961, there is a detailed exchange of letters between Pollinger and Greene’s Scandavian publishers concerning how this has come about and whether it might damage British sales. The year 1960 also saw the beginnings of Greene’s involvement with Thomas Roe, which led eventually to his losing a considerable amount of money. In July Greene told Pollinger that he was thinking of selling his foreign rights to Roe, and that contracts for his new novel with anyone other than Heinemann should go through Roe and Verdant S. A. in Lausanne. A few weeks later Roe

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himself wrote to Pollinger. In August, Greene told Pollinger that contracts of reprints of his older books should also go through Verdant  – of which, he later pointed out, he was not himself a director. In September, Pollinger wrote to Greene, summarizing the current contractual position on various books, and the position of Greene, Verdant and Pollinger in the new arrangements. 1964–5 The most important event in this period concerned the arrest and exposure of Thomas Roe, referred to above. The solicitor had provided what turned out to be fraudulent financial advice to a number of prominent individuals including Charlie Chaplin, Noël Coward and George Sanders. In Greene’s case, by entrusting at least a proportion of his estate to Verdant meant that he avoided considerable income-tax liabilities in the United Kingdom. This investment, which was intended to provide Greene with considerable financial security in the future, required the author to allow Verdant to take control of his foreign translation earnings. This meant that 50 per cent of all monies earned from this lucrative source were transferred to Verdant S.A. in Switzerland. The other 50 per cent was held in account in a Polish bank, also in Verdant’s name. The upshot of this arrangement meant that Greene lost a great deal of money which Roe appropriated for his personal use. He was arrested in August 1965 but until then there is no indication in the Pollinger files of any concerns whatsoever about Roe or his financial arrangements. The position changed abruptly on 3

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August 1965 when Greene sent Laurence Pollinger a hasty, handwritten note instructing him to ‘hold back on all Verdant contracts until the position is cleared up’. This was followed by calls to agents in Vienna and Buenos Aires with similar warnings. Despite the devastating financial losses which Greene suffered, by December 1965 he was able to inform Laurence Pollinger that the position with Verdant had been cleared and that a new and dependable director had been appointed. In the same letter he told Pollinger that he was taking up residency in France from 1 January 1966 and that after that date all monies owed to him, including his UK earnings, should be paid into the Verdant account. The other prominent subject under discussion concerned the film rights to Greene’s new novel The Comedians. The author appeared adamant that the director Carol Reed should not have access even to a proof copy of the novel, presumably to avoid him making a bid to gain control of the rights. However he was somewhat ambivalent regarding writing the film script himself, understandable perhaps as the Roe affair had reached its most critical phase. He told Pollinger in late October 1965, ‘I don’t want to do any film-script, but now that I am free for the moment from any novel, it is just conceivable that I would consent if the script could be done in Europe.’ In the event Greene did write what turned out to be his last screenplay. 1970 Though the volume of material is still considerable  – the year is covered by

eight folders  – there are only scattered letters from Greene; most correspondence is from Pollinger or third parties. There were moves to publish a book of Greene’s film criticism, and he was said to be very encouraging about the idea. Greene turned down a request to write something as part of a series on Australia, but work proceeded on A Sort of Life, to be published in 1971. 1975 The files for 1975 include a cutting from the Daily Mail of an interview given by Greene which has not been published elsewhere. Perhaps surprisingly, the interview is with David Lewin a longtime entertainment journalist with tabloid newspapers rather than an erstwhile literary critic and yet Greene is remarkably relaxed and open in his responses. This might be attributed to the fact that Lewin interviewed Greene nine years earlier for the same newspaper and Greene felt that he could trust him. He admitted that, as he started his eightieth decade, he was ‘less manic and less depressive’ than in his fifties. But he was also ‘difficult to live with’, being ‘impatient, irritable and unjust’. In an interesting passage he talked about the period of ‘black melancholy’ which affected him in his early fifties which he claimed was attributable to the onset of the male menopause. In desperation he had sought electric shock therapy which his psychiatrist would not allow. Instead he was told to write down everything he could remember from his childhood. This he did on a daily basis as a form of therapy. Greene claimed that undertaking had broken the spell of 99

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melancholy and much later enabled him to write A Sort of Life. Greene’s perennial quest for accuracy, particularly with respect to what he had said or had written, is illustrated in another newspaper cutting which appeared in 1975 at the time of the publication of An Impossible Woman. In a letter to the editor of The Bookseller he denied claiming that the book stood comparison with Axel Munthe’s The Story of San Michele. The latter he considered was ‘a bogus and sentimental bestseller’ whereas Moor’s book was a moving and truthful account of her life on Capri. The fact that he bothered to write in a low-circulation journal about an inaccurate statement which had appeared in an equally obscure Bodley Head catalogue demonstrates the extent to which he was concerned with precise reporting in addition to preserving his reputation within the professional publishing community. 1980 Again there were offers of work for Greene  – to write an introduction to a volume of essays on St Francis of Assisi, to write a preface to Alan Redway’s (never-published) Oxford University Press bibliography of Greene’s work, to visit Poland with Malcolm Craddock. The range of adaptations of Greene’s work is again evident  – there is a proposed musical version of Our Man in Havana and an Australian radio broadcast of The Potting Shed, while film rights to Doctor Fischer of Geneva were granted to John Pringle and Joseph Losey. There was news of a major auction of some of Greene’s manuscripts, and evidence of Norman 100

Sherry going about his biographical researches. 1985 By 1985 it is apparent that his sister Elisabeth Dennys, in her capacity as secretary, was handling much of the communication with his literary agent. Dennys wrote to Gerald Pollinger regarding the sources used in a ‘Bookmark’ programme which suggested that BBC researchers had been ‘delving around in Texas University’. She added, ‘ .  .  . there are a mass of Graham’s MSS and letters there and Graham has expressly stated that he does not want any of this used by a biographer, except Norman Sherry’. This matter was particularly pertinent as Dennys knew that the BBC was currently preparing Greene’s obituary. She also acted on her brother’s behalf over the publication of the short story ‘An Impossibly Bad Hotel’ which appeared in Time and Tide magazine that year. Dennys told Pollinger that Greene was ‘really cross’ on four counts. First, he had not received proofs of his story; secondly, he had not been sent a published copy; thirdly, they had misspelled his name and lastly there had been no word about payment. Naturally, these complaints elicited a deeply apologetic letter from the editor. Gerald Pollinger wrote directly to Greene in June 1985 informing him that the BBC wanted to serialize Brighton Rock for television. However, despite the fact that the producers of the 1947 film, the Boulting Brothers, had stipulated that the rights should revert to Greene following their deaths (John Boulting had just died)

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there had been a long-running dispute with EMI over the matter. Pollinger wanted to know if Greene approved of the television project and to sharing the basic fee with EMI. There is no further correspondence regarding this issue. 1990 As Greene approached the last year of his life, there is evidence of continued interest in the whole range of his past writing. Details were agreed of royalty payments on Reflections. Penguin published a paperback edition of Yours Etc. Chivers Audio Books showed considerable interest in bringing out audio versions of Greene’s works. Permissions to include extracts or whole items from Greene’s writing continued to be received. For his part, Greene still made decisions about licences, rights and reissues, and insisted on seeing the scripts of any proposed dramatization of his work. He was, too, to the end, approached about new collections of his work – in October he turned down a proposal to publish an anthology of his writing on religion and the Church.

Series V: Laurence Pollinger Copyright Assignment Files There are seven boxes and over 160 files containing contracts, correspondence and information concerning the rights to an extensive range of Greene’s fiction and non-fiction works. These are sub-divided into Audio, Film, Publishing, Stage and television rights. Typically individual files contain a signed Memorandum of Understanding pertaining to a particular work and some relevant, usually third party, correspondence between the company purchasing the rights, Greene’s agent and his secretarial staff. A whole

mass of material includes projects both realized and unrealized. On film rights alone, this includes the original contract of April 1933 in which Fox Film Corporation purchased the rights to Stamboul Train. Other options, none of which were fulfilled, included making a film of A Burnt-Out Case: one in 1962–3 with the suggestion that Kirk Douglas should play Querry, one from 1967–9 involving Otto Preminger, and one from 1973–4. Correspondence with Greene in Other Collections As a prominent literary figure and someone who was professionally involved with publishing for a time, it is hardly surprising that Greene was in frequent contact throughout his life with other writers, critics and publishers or those who belonged to what might be broadly described as the ‘literary circle’. His correspondence in this category varies considerably in amount and significance. It includes his exchanges with the firm of Pearn, Pollinger and Higham in the interwar period. This collection, in particular, provides some very valuable insights into a less well-documented period of the writer’s working life. Sybille Bedford Papers Sybille Bedford was a Germanborn English novelist, journalist and biographer. There are four handwritten letters to her from Greene. In the first, from 1973, he wrote of Aldous Huxley, ‘I only met A.H. once in Gower Street at Ottoline Morrell’s and I was too shy to speak to him. It was only after These Barren Leaves that I lost my respect for him as a writer.’ Two letters in 1974 101

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concern meeting over a meal. In May 1978 Greene wrote to thank her for her ‘generous review’ of The Human Factor. He added detail about the writing of the novel  – abandoned after 25,000 words eleven years ago, then eventually finished but with Greene still unhappy about it. He finally asked Frere if it should be put away for Greene’s children to decide whether to publish it after his death. Bedford’s review  – and Anthony Burgess’s  – had made him glad it had been published. Anthony Burgess Papers Following a promising start, Greene’s relationship with the writer Anthony Burgess declined sharply. The first two letters, written in 1979, were couched in friendly tones, ‘Dear Burgess – or can I say Anthony or should I try Tony . . .’. Greene politely corrected a small mistake made by Burgess and later suggested he should visit him in Antibes. In a brief exchange of letters the men also discussed the sad decline in author/publisher relations. Nearly a decade later, in an undated letter almost certainly composed in 1987, Greene again accused Burgess of getting his facts wrong, this time in far more blunt terms. Burgess had told an audience on French television that Greene was eighty-six rather than eighty-three. On a more significant note, Burgess had written that the writer had been in almost daily contact with the spy Kim Philby. Greene claimed he had received about ten letters in about twenty years. Although the letter ended in a moderately conciliatory manner with Greene praising Burgess’s early work and mentioning an admiring essay the latter had once written about him, the overall tone was sarcastic and quite deliberately condescending. 102

The following year Greene sent Burgess a brief and a very angry letter denying that he had told him about ‘an aggrieved husband’ who had ‘shouted through my window (difficult as I live on the fourth floor)’. Greene ended the letter, ‘You are either a liar or you are unbalanced and should see a doctor. I prefer to think that.’ Joseph Conrad Collection Greene’s lasting admiration for Conrad was expressed vividly in a response to a questionnaire from the editor of ‘Widomci’, Mieczyslaw Grydzewski. Writing in 1949, Greene admitted that he had been a devotee of Conrad since the age of sixteen and singled out The Secret Agent and Heart of Darkness as particular favourites. He considered that Conrad had ‘a permanent place in English letters’, comparable with Dostoevsky in Russian literature. He thought that the adverse reaction to Conrad which started in the 1930s would be temporary. He added, ‘I would place him far and away above Virginia Woolf who, particularly, was responsible for that reaction.’ Nancy Cunard Collection Greene wrote to the poet and heiress Nancy Cunard in February 1945 while he was working for Eyre & Spottiswoode on a part-time basis. He apologized because the paper shortage caused by the war meant that the volume of Augustan poetry which included her work was unlikely to appear that year. Greene explained in polite and rather deferential tones that the publisher normally paid royalties on the day of publication rather than offering advances. He promised to pay particular attention to her poem about France.

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Bernard Diederich This extensive collection of nearly 140 letters sent by Greene to his journalist friend Bernard Diederich between 1965 and the author’s death complements the collection at Boston College although there is considerable overlap. Therefore this account does not describe letters which are also to be found at Boston. A small number of letters from Yvonne Cloetta to Diederich written after the writer’s death are included in this collection. Two letters written in January and December 1965 acknowledged the extent of Diederich’s assistance in writing The Comedians. Eighteen months later, during the filming of The Comedians, Greene told Diederich that Fred Baptiste, who they both knew, had visited the film set in Dahomey seeking money from the actors to support a proposed revolt against the dictatorship in Haiti. Although Greene had donated a small cheque to the cause, Baptiste had elicited little response elsewhere. Further letters written towards the end of the decade demonstrate how both writers continued to apply pressure on the regime. Greene also campaigned in the press himself regarding the dictatorship and gave critical advice about Diederich’s book on Haiti. He warned his friend against giving too much credence to the more lurid stories which were emanating from Haiti at the time. By 1973 Greene’s interest in Latin America and its politics had switched to Panama. In March 1973 he wrote that he had been ‘very drawn’ to the country for several years but had no excuse to go there now he had finished The Honorary Consul. He stated rather wistfully, ‘It had become quite a habit to visit the

Argentine and neighbouring countries in the summer.’ In the same letter Greene also described how he had once rented Ian Fleming’s house at Ocho Rios on the north-east coast of Jamaica. He had opted to pay in order to avoid Fleming’s offer of free rental in return for Greene writing an introduction to an omnibus edition of Fleming’s work. Fleming employed what Greene described as, ‘a villainous old housekeeper with the evil eye’. When Greene had confronted the housekeeper over the extortionate amount she was charging for drinks he claimed she had placed a spell on him. By way of proof he related how shortly afterwards he had slipped over beside a swimming pool and damaged his shoulder quite severely. Greene did not visit Panama until 1976 but when he did achieve his ambition he eulogized about the country and about his liking for General Torrijos and his aide Chuchu. He told Diederich that the visit had given him an idea for a novel and that he intended to return to the country shortly. By the end of the decade Greene had become less enthusiastic about a return; other foreign visits had assumed greater importance. For example, in June 1980 he wrote that he was about to embark on his annual trip to Spain with Leopoldo Durán, adding in reference to what became Monsignor Quixote, ‘I hope the trip will revive my interest in a comic novel I began’. The novel set in Panama which Greene seemed convinced he would write did not subsequently materialize and his memoir of General Torrijos also failed to meet his expectations. He told Diederich in January 1984 that ‘it seemed to fall between too many stools’. 103

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Greene’s letters to his friend written during the last decade of his life reflected his still active interest in Central America and its politics and included references to Nicaragua, Haiti and Panama. In one of his final letters he mentioned also his decision to sell his cottage on Capri in order to purchase a home in Corseaux in order to escape the ‘noise and dirt’ of Antibes for much of the year. Yvonne Cloetta’s letters to Diederich include a vituperative attack on Norman Sherry’s biography which she believed constituted a betrayal of Greene’s memory. In another letter she agreed with Diederich about the inaccuracies to be found in Father Durán’s book about his relationship with Greene, Graham Greene: Friend and Brother. Peter Glenville Papers There are twenty-two letters from Greene to Glenville, dating from 1958 to 1982. Of these, fourteen are also in the collection at Boston College, and only those not at Boston are considered here. In a letter from 1958 Greene said he would like to do a film with Glenville, but repeated his objections to writing a screenplay of someone else’s work. Correspondence from 1967 concerned the film of The Comedians, among much other material on the film. The tone of letters was very friendly, with Yvonne Cloetta and Glenville’s companion Bill Smith included in the greetings. In a letter in 1980 Greene told Glenville of troubles with Martine Cloetta’s ex-husband. There is also a letter from Yvonne to Glenville in 1991, after Greene’s death, and four letters from Greene to Smith. In 1953 he wrote how much he enjoyed working 104

on The Living Room with Glenville and Smith, and in 1967 he admitted to having been ‘an awful old grumble’ during the making of the film of The Comedians. Geoffrey Grigson Papers In 1945 Greene wrote to Grigson in reply to an invitation to contribute something to The Mint: he said he had better not offer extracts from a journal of a convoy to West Africa, since ‘it might very well entail several libel actions’. Nevertheless, Greene’s ‘Convoy to West Africa’ did appear the following year in a collection from The Mint edited by Grigson. David Higham and Associates The correspondence relating to Greene’s literary agents covers the period 1935 to 1950 after Nancy Pearn, Laurence Pollinger and David Higham had separated from Curtis, Brown. As the letters are not arranged sequentially for the six-year period between 1935 and 1941 they are discussed in near chronological order for purposes of clarity. From 1942 to 1950 the folders are on occasion fragmentary in content and this is reflected in the description. Although Greene was gaining a reputation and limited popularity through novels such as Stamboul Train and Brighton Rock, it is clear that during the second half of the 1930s he was still considerably reliant on earnings from short stories and other more minor writings. The earliest letter in this collection is dated 26 August 1935. Nancy Pearn wrote to tell him that his short story ‘A Chance for Mr. Lever’ and an article ‘The Liberian Mask’ had both been rejected by Nash’s Magazine and the Strand. Greene

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replied that he was putting all his energies into completing Journey Without Maps but would try to think of a fresh article for the News Chronicle. He was anxious ‘to place’ another short story called ‘The Innocent’ and wondered if its first-person narrative approach would also make it suitable for broadcasting. This story was later rejected by the Listener. Other projects mentioned in the 1935– 6 period, of which there is now no trace, include an article entitled ‘West Coast’ and a short story called ‘In the Night Coach’. Greene also hoped to produce work for radio. In July 1936 he asked Pearn if it was worth ‘gate-crashing’ the BBC series From Darkness to Dawn. This idea was also rejected by the BBC. Another short story, ‘Miss Mitton in Moscow’, was never completed, although a brief synopsis remains. Optimistically, Greene hoped that interest in ‘Miss Mitton’ might prompt a potential editor to advance him money to visit Moscow and thus add authenticity to his work. When the News Chronicle rejected this proposal Greene promptly abandoned the story altogether. The correspondence for 1937 reveals Greene fully engaged with his forthcoming visit to Mexico and the subsequent writing of The Lawless Roads, work on Brighton Rock, the co-editing of the short-lived magazine Night and Day and the writing of ‘Four Dark Hours’, the story on which the film The Green Cockatoo was based, and for which it is an alternative title. In some cases when titles are not mentioned, it is difficult to disentangle references to Greene’s own work and to material he was gathering for Night and Day. Greene’s visit to Mexico in early 1938 was overshadowed to an extent by

concerns that religious persecution in that country had ceased and any reportage would not be newsworthy. This proved to be the case when Greene returned. The writer also found difficulty in deciding on a suitable publisher for The Lawless Roads. He wrote to David Higham in an undated letter, apologizing for his recent bad mood and complaining that A. S. Frere at Heinemann ‘had no idea how to market a religious book’. Contradictorily, in a separate letter in December 1937, he confirmed that had switched publisher to Longmans, Green and Co. on the grounds that ‘it would brand one less in the public eye as a Catholic writer’. In the same letter Greene referred to the progress he had made towards completing Brighton Rock. He wrote revealingly about the pressures of a writer working under the burden of financial insecurity: ‘The novel in its last 5000 words has turned round and bit me (I’ve never had such bother with a book: I suppose because I’ve never been able to concentrate on it for two months together), so I’m off to a country pub, I hope, tomorrow evening to finish it.’ However, at least he was optimistic about the title: ‘I’m convinced it’s a good one’. Nash’s Magazine, having seen an extract, had shown considerable interest in Greene’s story ‘Four Dark Hours’ referred to above. Pearn wrote to Greene in early March 1937 that he should aim to write up to 45,000 words by June of that year. The editor had also stipulated that the narrative should move in easier, more sequential stages and that the ‘film technique’ should be removed entirely. These demands proved too much and the following month Pearn wrote 105

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sympathetically to Greene that she was prepared to inform the magazine that he was unable to meet the June deadline. In the outcome, Nash’s Magazine did not publish the story. In September 1937 Pearn advised Greene that she had negotiated a sum of £60 by way of compensation for a work the magazine had commissioned in the first place. Unfortunately, the manuscript has apparently not survived. At the beginning of 1938, shortly before he left for Mexico, Greene vented his personal frustration in a letter to Higham in a manner which came to typify his outlook on life: ‘I’m feeling rather bored with everything. I don’t know how I shall get enough vitality to think of another novel unless I can get out of bloody Europe.’ However, over the next two years the correspondence showed there was a general upsurge in interest in the writer’s work and correspondingly Greene became more confident and assertive. In May 1939 he wanted to talk to Higham about The Power and the Glory which he thought, ‘has a better chance than Brighton Rock purely because it is less “unpleasant”’. The following year he was complaining about the weak publicity campaign which Heinemann had organized for his new novel. There were still setbacks, particularly with the BBC. His contribution to the series London in Spring in 1941 was rejected; even Greene admitted it fell short of his usual standards. His short story ‘The News in English’, considered by some to be one of his best, was deemed unsuitable for broadcasting during wartime. Nancy Pearn wrote to Greene in early 1940, telling him that 106

Military Intelligence were not anxious to put the idea into people’s heads that secret messages could be broadcast in code. Perhaps the most interesting letter for the period 1935 to 1941 is addressed not to Graham but to Vivien Greene. Written in April 1938, Nancy Pearn commented on Greene’s career and the direction it might take at a critical time when his future as a full-time novelist was still far from certain. She quoted the editor of the Strand Magazine as stating that although the short story ‘Across the Border’ was not suitable for his journal he nevertheless considered him one of the best fiction writers of the day. Pearn added that it had occurred to her that to hear an opinion such as that was most encouraging at the present time. She ended by advising Greene to concentrate more on creative work than on articles. In 1942 there was considerable correspondence, much of it from Vivien, as she tried to coordinate matters with her husband away in Sierra Leone. From May, Graham Greene took over the running of matters. There are twelve letters and four telegrams written from Sierra Leone, all but one of them to Laurence Pollinger. They concerned income tax demands, the dramatization of Brighton Rock, Greene’s writing of The Ministry of Fear, a possible film version of the short story ‘When Greek Meets Greek’, the film of ‘The Lieutenant Died Last’ and the awarding of the Hawthornden Prize for The Power and the Glory. Greene showed himself a shrewd and active businessman on his own behalf  – wanting promotion of The Power and the Glory on the back of its prize, suggesting a collection of his short stories, making detailed

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suggestions on the casting of Brighton Rock and discussing whether he should sign another contract with Heinemann. He reported on 22 May 1942 that his new ‘entertainment’, The Ministry of Fear, which at one point carried the title of The Worst Passion of All, was two-thirds finished. By mid-August it was complete. Greene was very careful about how the manuscript could be sent safely back to Britain. Greene claimed, ‘I read nothing but Trollope, go to bed early, and work fairly hard  – for the first time since the war began.’ In June he asked Pollinger to write to him, ‘One likes to have news of our dingy civilisation in this even dingier hole.’ For the first couple of months of 1943 Greene was still in West Africa. On hearing of the resumption of German bombing of London, he commented, ‘One feels completely out of it in this colony of escapists with their huge drinking parties and their complete unconsciousness of what war is like.’ He also discussed further the possibility of moving from Heinemann to Eyre & Spottiswoode, where Greene was to work on his return to Britain. His instinct was not to move until he had the chance to increase the Eyre & Spottiswoode fiction list. He continued to take an interest in the staging of Brighton Rock from a distance of several thousand miles. He commented on and finally approved the script, writing that Vivien’s suggested omissions had improved it. Once back in Britain in March, he saw the play in Oxford and was appalled sending a sixpage handwritten letter to Pollinger, heavily criticizing changes that had been made and the performance of Hermione

Baddeley. On the other hand he very much approved of Harcourt Williams as Prewitt and thought Pinkie, Richard Attenborough, a most promising actor although he considered the character ‘should not be made so violent’. Greene’s own copy of the programme for the performance he saw is annotated with comments on various scenes – Act 2 Scene 3 was ‘Good’, but the final two scenes of the play ‘Bad’. Greene continued to take an interest in the progress of the production while picking up the threads of work back in Britain. When he heard that Michael Balcon and Cavalcanti were keen to see him, he remarked that he was much too busy to write a script, but would like to meet Balcon. Later there was talk of Greene signing a contract with Korda. In a handful of letters written in the second half of 1944 Greene showed awareness of the need to make money. Writing to Laurence Pollinger in July, he commented that ‘all our expectations of life these days are a little uncertain’. He suggested ways his family might be provided for in the event of his death and commented on future projects including volumes of short stories and essays and new editions of some of his novels. There was, too, the writing of The Tenth Man as a film story. Greene wrote to Ian Dalrymple at MGM in London on 22 August stating that he had one or two ideas for such a story as part of his contract with them. By 6 November he was within 7,000 words of the end of the story. He sent the second part of the manuscript two days later and by the end of the month the original manuscript and typed copies of the final part were being returned to him. 107

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A handful of Greene letters from 1946 mainly concern getting short stories published, including ‘All But Empty’, a variant of the story ‘A Little Place off the Edgware Road’, ‘The Second Death’ and ‘The Lottery Ticket’. Of the latter two Greene commented, ‘you’ll have tried them before, but before my books started booming’. Around a dozen letters from Greene in 1949 cover a variety of topics. The serialization of a story version of The Third Man was considered: in John Bull Magazine, in abbreviated form for the Sunday Express and in Italy. There was mention of a German version of the story ‘The Hint of an Explanation’ and of a radio talk Greene gave on the BBC English European Service on Robert Louis Stevenson in August. Very substantial files of material for 1950 include a lot of detail of foreign rights on Greene’s work, and translations – a request to have an edition of Brighton Rock in Icelandic, for instance. The great majority of the letters were from Greene’s secretary, his agent, or third parties, but there are a number of letters from Greene himself. In one he referred to his ‘rather rapid revision’ of Narayan’s latest book, The Financial Expert, in another he made provision for his children by assigning income to them from some editions of his works. He stated also that Rumour at Nightfall and The Name of Action would never be republished in English or in translation. In July Greene declared Basil Dean’s revised stage version of The Heart of the Matter was ‘too appalling for words’. Later in the year Greene made financial and other arrangements for going out to report on the situation in Malaya. 108

Mary Hutchinson Papers There are four letters addressed to the writer and socialite Mary Hutchinson, dated 1950. They are all responses to requests for favours and include one which asks Greene to take a sum of money to Paris, presumably illegally. H. Montgomery Hyde Collection A single letter to Hyde in 1969 rather abruptly rejected his theory as to why Henry James made a gift to his secretary. Alfred A. Knopf, Inc. Papers Among a mass of material concerning the New York-based publisher are occasional letters from Greene. In 1951 he declared himself to be an ‘admirer’ of the work of Eric Ambler. Sometimes he turned down work  – on a brochure on Elizabeth Bowen, or, in 1953, a brief biography on ‘one of the poisoned popes’. In 1967 Greene provided a dust jacket quotation on the reissued The Lost Steps by Alejo Carpenter describing it as, ‘The most profound and poetic evocation, since Conrad’s Heart of Darkness, of the jungle world of deceit, subterfuge, duplicity’. Lechat/Greene Dr Michel Lechat was the Belgian leprologist who in 1958 was running a leprosy clinic at a religious mission at Yonda (or Iyonda) in the Belgian Congo. Greene contacted him to arrange a visit as part of his research for the novel A Burnt-Out Case, which Greene dedicated to Lechat. Dr Lechat helped Greene with details in the novel, and with his ‘Congo Journal’, based on his visit there and published in 1961. The two remained friends to the end of Greene’s life.

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The material in Austin comes from Lechat’s own files, and much of it is annotated by him and with cover sheets, evidently written in 2007. Half the files consist of materials relating to A BurntOut Case and ‘Congo Journal’, and half comprises correspondence between the two men. There is an undated bound typescript of A Burnt-Out Case, with some handwritten amendments, and a later Penguin paperback edition of the novel, with many annotations by Lechat and some handwritten notes at the end. There are five pages of typed comments on the book, written by Lechat presumably after seeing a first draft of it: most of the comments were on medical aspects of the novel, detailed section by section, usually with ‘OK’ at the side, where Greene had taken account of the comments in redrafting. Nine further pages of Lechat’s detailed comments on the novel seem to be from 1996: he dealt with possible sources for some of its passages – conversations, people and places, anecdotes  – while other comments relate to the authenticity of particular pieces of dialogue or story, and the excellence of some of Greene’s descriptions. There is also a file of material concerning the complaints by medical missionary and leprosy specialist Dr Cochrane: that Greene’s novel dwelt on the ‘horror’ side of leprosy and not its positive aspects. On the ‘Congo Journal’ there are galley proofs with corrections  – ‘lepers’ changed to ‘patients’, for instance  – plus Lechat’s summary of changes to make. In a long, undated draft letter, Lechat requested that Greene make changes to his journal

before publication. He pointed out that some of the people Greene mentioned were still in the Congo, and might be offended by the references to them. He gave him the details he wanted to have dropped, or amended in order to make the individuals unrecognizable mentioning specifically the Bishop, the Governor’s wife, the School-teacher, Père J., the nuns removed from Yonda in 1953, and the Chief Medical Officer. Greene responded to these comments by deleting or amending some passages in the published journal. There are also photographs taken at Yonda in 1959, when Greene visited. Finally, there is a file of published material on Greene and talks given by Dr Lechat on Greene. The seventy-eight letters from Greene are the originals kept by Lechat and date from 1958 to 1988. This is a much fuller collection than the fifty-five copies at Boston College, which has gaps in the sequence of correspondence in 1960 and 1961 in particular. Conversely, Boston has copies of three letters from 1960 not present here, as well as a much fuller collection of Lechat’s letters to Greene. Greene’s early letters to Dr Lechat concern the arrangements for his visit to the Belgian Congo. In a long letter in October 1958 Greene wrote that he would like to visit at the end of January, for perhaps six weeks, and reassured Lechat that ‘I have no intention, I promise you, of producing a roman à clef . . . Nor am I looking for any dramatic material.’ In December he offered Lechat further reassurance: ‘The real subject of the novel is a theological and philosophical argument . . . against a background of an African hospital settlement.’ 109

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By 18 March 1959, Greene had visited Yonda and wrote to thank Lechat for his kindness and help, addressing him now not as Dr Lechat but as Michel. Later letters gave details of other places Greene visited during his stay in Africa. In June 1959 he wrote to Lechat’s wife Edith to thank her for a drawing she had sent him. In March 1960 Greene asked Lechat if he would check a photocopy of the typescript of A Burnt-Out Case and correct any mistakes, and in the following months Greene wrote repeatedly to thank him for all the trouble he had taken with the book, to check particular details, and to confirm that he was making the necessary changes. He also expressed concern at Lechat’s accounts of disturbances in the Congo, and later relief when Lechat took a new job in the United States. In 1961 Greene commented on reactions to the publication of A Burnt-Out Case  – including that of Dr Cochrane  – and asked Lechat to help him with the forthcoming publication of his ‘Congo Journal’. After Lechat had objected to various comments in the journal about individuals, Greene wrote in August 1961 stating that he had ‘cut much of what you objected to’ and reassuring him that ‘all your points have been met’. The friendship between the two men continued over the years; periodically Greene sent Lechat his latest book, made arrangements to meet, swapped family news, commented admiringly on Lechat’s globetrotting, and discussed the progress of Lechat’s career and details of Greene’s travels. When Lechat returned to Yonda in 1968, Greene asked of the priests there, ‘Are they very cross with me?’ In 1974 Greene commented on The 110

Honorary Consul, ‘I like the book myself and think possibly it’s the best. I’ve never had such a miserable time though writing one except possibly A Burnt-Out Case.’ In 1981 Greene responded to a letter from Bangkok with memories of his time there – ‘Bangkok I have always hated’ – and of Vietnam. Two years later Greene reacted to reading Lechat’s Health Effects of Nuclear War by writing ‘I have the same fear as I felt the first few hours with you in the leper colony.’ In 1984 he expressed fears for Norman Sherry’s health if he travelled to the Congo in the author’s footsteps, and in his last letter to Lechat, in November 1988, he declared of The Captain and the Enemy, ‘I don’t much like the book myself.’ A final file has Lechat’s tabulated summary from 2007 of some thirty letters he wrote to Greene between 1958 and 1985, with, he noted, none surviving from 1963–7. Fifteen of these letters, as typescripts or drafts, are to be found in the HRC collection. Norman Mailer Papers A single letter from Greene to Mailer, from July 1962, apologized for his previous discourtesy, and praised Mailer’s Advertisements for Myself. There are two letters from Mailer to Greene. Lady Ottoline Morrell Collection Greene was acquainted with the aristocrat Lady Ottoline Morrell who befriended and supported young writers and artists of her time. The collection of ten letters from Greene, all dated 1930–2, provides a valuable insight into the writer’s state of mind following the failure of his novels The Name of Action and Rumour at Nightfall. In an undated letter, probably

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written in late 1930, Greene claimed to feel ‘quite callous again’ about The Name of Action as he was fully engaged with his new novel. The following November, however, the upbeat mood had changed. Morrell had obviously made encouraging remarks about Rumour at Nightfall. In reply, Greene wrote that he thought it ‘to be my best’ but bemoaned the lack of reviews despite the fact it had been published just three weeks previously. He ended the letter gloomily, ‘Books are a labour to write and hell to publish; why do I do it? The grim spectre of a return to journalism loomed on the horizon.’ In September 1932 Greene told Morrell that Stamboul Train was at the proof copy stage. He claimed that it was a novel, ‘which my publisher loves more than I do’. Despite the encouraging news Greene also asked Morrell if she had any influence with the editor of The Sunday Times as he was anxious for work from that source. William Plomer Papers An undated letter from Greene thanked Plomer for allowing the use of a line of his poetry in a dedication. The letter is from 1936, when the first edition of Journey Without Maps was dedicated ‘To My Wife’ with the line ‘I carry you like a passport everywhere.’ Ezra Pound Collection There are two letters both dated October 1957 addressed to Ronald Duncan which concern the fate of Ezra Pound who had been detained at St Elizabeth’s Hospital, Washington DC since 1945. At the time of writing there was a campaign underway organized by prominent writers aimed at securing Pound’s release. In the first

letter, Greene lent his support to the cause but stated that he would not be able to attend a forthcoming meeting as he was going abroad. He told Duncan, in the second letter, that he would be spending a few days in America that November and hoped to visit Pound in hospital. Leonard Russell Letters Two letters to the Literary Editor of The Sunday Times from 1954 and 1955 list Greene’s ‘Books of the Year’  – significantly in 1955 he mentioned Nabokov’s Lolita. Edith and Sacheverell Sitwell Collections The five letters and one postcard from Greene to Edith Sitwell written in 1958–9 mainly concern social matters and convey familiar apologies for missing engagements owing to his incessant travel. By contrast to the chatty tone he adopted in this correspondence, the single letter to Edith’s brother Sacheverell Sitwell in 1940, concerning a book review for the Spectator, was strictly formal, addressing him as ‘Mr Sitwell’. Tom Stoppard Papers The three letters to Stoppard are all from early 1979, and concern the film version of The Human Factor, for which Stoppard wrote the screenplay. In the first, Greene passed on suggestions from his friend Etienne Leroux about issues involved in the South African scenes in the story. In the second, he discussed director Otto Preminger’s attempts to raise money for the film; in the third, he showed his disgust at the casting of Robert Morley as Dr Percival and expressed the hope that Preminger would not get to make the film. 111

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L.A.G. Strong Collection The first of two letters to the writer L.A.G. Strong, both undated, includes a copy of ‘Sonnet’, one of the poems from Greene’s published collection Babbling April. In the second letter, addressed from Chipping Campden, Greene asked Strong if he would review his novel, but did not name it. His claim that it was his principle never personally to send books to critics for review suggested that he was probably referring either to The Name of Action or Rumour at Nightfall. UNCATALOGUED FILES

Box 1 National Security / Freedom of Information In the early 1980s Greene managed to obtain a copy of his US National Security file through the Freedom of Information Act. The papers, many of which have words, phrases or entire sections deleted together with a typescript of the article he wrote on the subject constitute this collection. The first section deals with his deportation from San Juan in 1954. The principal reason given was his brief membership of the Communist Party in the early 1920s. His journey from Canada via Idlewild Airport to Copenhagen in 1957 was also documented. The file contains literature from other sources obviously intended to provide background information on the writer. There is a newspaper article which includes quotations from a book by Rebecca West which appeared to accuse writers such as Greene and Evelyn Waugh of creating

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an atmosphere conducive to what West called ‘intellectual treason’. Greene was also attacked in a newsletter called Counterattack which purported to provide facts for the reader with which to counter communism. Two copies of the newsletter, founded in 1947 by two ex-FBI agents, are included in this collection and relate to Greene’s views on the situation in IndoChina, voiced in 1952, and his obvious sympathies with Ho Chi Minh following his meeting with the Vietnamese leader in 1955. There are further documents relating to Greene’s cousin Felix who had lived in the United States since 1940 and who had also been identified as a suspicious left-wing sympathizer. J’Accuse There are two files on Greene’s campaign against organized crime in the south of France and specifically the involvement of Daniel Guy, husband of Yvonne Cloetta’s daughter, which culminated in the publication of J’Accuse in 1982. The first file contains a number of handwritten and typescript drafts. Almost all the material refers to the English version of the essay. The second file comprises drafts of letters, notes and other background material. The first file has two typescripts of the entire essay or exposé; the second one has far fewer changes and additions and is dated 26 March 1982 two months prior to publication. There is also a six-page holograph copy of the opening passages of this work. Similarities in the form of a five-page typescript in the second file entitled ‘Letter from Nice’, which is

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markedly similar to the original holograph opening, suggests that Greene’s original intention may have been to have produced an article of magazine length and not a booklet-length publication. Greene commented on several occasions that he felt threatened during the years in which he was waging his ‘war’ on corruption in Nice. He curtailed some of his foreign visits for fear of exposing Yvonne Cloetta and her daughter Martine to danger. There is a lengthy and carefully written series of comments on a letter written by Daniel to Martine on 15 May 1981. The content and manner in which it was composed suggests that it was intended to provide evidence should anything untoward happen to the writer or the Cloettas in the interim. Greene’s desire to shoulder personal responsibility for their safety is further evidenced in a bravado letter he wrote to Guy which was never sent. Greene accused Guy of cowardice, of lacking intelligence. He offered himself, a 77-year-old man, as an alternative target for any intended violence rather than having continued intimidation of an innocent woman and her children. The remaining material in this second file includes drafts of letters sent to The Times, further notes and correspondence with third parties concerning Daniel Guy. An Impossible Woman An undated typescript has ‘2nd corrected’ in Greene’s hand on the cover. There are extensive changes and additions in Greene’s hand, including sections on ‘Baron von Schact’ and ‘A Kleptomaniac’.

Correspondence with Kenneth Macpherson and Islay de Courcy Lyons This correspondence, numbering over twenty-five letters and postcards, covers the period 1952–91. Macpherson and Lyons were companions and friends of Greene on Capri, part of a circle of acquaintances which included the writer Norman Douglas and the eccentric Dottoressa Moor. Greene collaborated with Macpherson in editing Moor’s memoir taking sole responsibility for it following Macpherson’s death in 1971. Many of the letters relate to visits to the couple’s house in Rome and to proposed meetings. The early letters suggest that until 1962 Catherine Walston was an integral part of this group. Several make mention of the often strange and unpredictable behaviour of Elisabeth Moor. In one Greene tells how he had discovered her wandering around Brighton lost because she was unaware that the town had two piers. He added, ‘However, she has not been rambling about in a transparent nightdress as far as I know.’ There is a considerable gap in the correspondence around the time of Macpherson’s death but communication was resumed in 1980 by which time Lyons was living in Bangkok. Greene showed reluctance to visit him expressing a dislike for that part of the Far East. The last letter, written by Yvonne Cloetta, described her feeling of immense loss shortly after Greene’s death. Correspondence with László Róbert Róbert is a former Hungarian journalist and television documentary maker

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whose books include Hotel Majestic (Kozmosz Konyvek), a book on Vietnam, and The Greene Connection (A GreeneKapcsolat), neither of which have been published in English. He was a member of the International Ceasefire Commission at the end of the Vietnam War in the 1970s, and he and Greene first met in Paris in 1973. Almost all the fortyplus letters in the file are from Greene to Róbert, from 1974 to 1991; almost half are from 1975 and 1976. Greene’s first letter in December 1974 showed interest in Róbert’s visits to Vietnam and a willingness to meet him. Through 1975 the tone became one of friendship. Greene corrected two details in Róbert’s ‘first Saigon letter’ in July 1975, and in August he visited him for five days in Budapest  – Greene commented that he had ‘an interesting and enjoyable time’. Gifts were exchanged, and Greene wrote from time to time, keeping Róbert in touch with his travels. In December 1976 he wrote that he had been in Panama, ‘trying to irritate the Americans’. Greene responded to details of Róbert’s own travels  – ‘How you get about!’  – and showed concern for Róbert’s troubles. He was glad when Róbert met Father Durán in 1978. There was much talk of Greene and Róbert meeting again, and perhaps going to Vietnam together, but it is not clear from the correspondence how often this actually happened. A meeting was referred to in 1987, and in a letter to Michael Korda in 1994, which is in the file, Róbert remarked that he met Greene in Budapest, Madrid, London, Moscow and Antibes. Other letters deal with two of Róbert’s books. In 1980 Greene agreed to write a preface to Hotel Majestic in the 114

form of a letter, and copies of that are in the file. In 1988 Greene wrote detailed and not uncritical comments on Róbert’s The Greene Connection, suggesting changes and recommendations for getting it published. Correspondence with Harold Guinzberg Harold Guinzberg was founder and president of Viking Press, Greene’s US publisher. Although the file relating to the Viking Press at the HRC includes a number of Greene’s letters to Guinzberg this small batch is at present kept separate from that collection. It includes three letters from Greene to the publisher and two written by Guinzberg. In one, dated February 1960, Greene apologized for not meeting Guinzberg while he was in New York. He agreed that the film of Our Man in Havana was disappointing. He apportioned most of the blame on ‘the bad miscasting of the child [Jo Morrow who played Milly] who destroyed one dimension of the story and damaged Guinness’s acting’. Greene’s letter of 31 July 1961 provided an early indication of his growing discontent with Heinemann. He mentioned that his African travel journal In Search of a Character was to be published by the Bodley Head rather than by his usual publisher hinting that the move was intended as ‘a little piece of publishing politics’. Guinzberg’s two letters, which were both written shortly before his death in 1961, convey his regret for the fact that during his long, professional acquaintance with Greene the US sales of his books had been generally disappointing,

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especially when compared with the UK and European figures.

Box 2 Correspondence with John Bray 1986–90 and Undated By repute, Greene was scrupulous about replying to letters written by members of the public. His correspondence with a John Bray, which spanned four years and numbered some thirty letters in all, might be considered as a typical example. Bray wrote a number of often badly written and rambling letters to which Greene sent brief but polite replies. Bray was clearly a serious collector of Greene’s work and was also in fairly regular contact with R. A. Wobbe, Greene’s unofficial bibliographer. On one occasion, rather presumptuously, Bray tried to induce Greene to send Wobbe a get-well message after the bibliographer had suffered a stroke. Greene did not reply to this invitation. Correspondence: 1930s to 1960s There are over ninety letters from Greene to a large range of people, from 1936 to 1968. A small batch from 1936–7 are to the London bookseller Fred Bason, about books Greene was seeking. He told Bason in April 1937, ‘I’m working 15 hours a day at Ealing on a script.’ Three letters from 1940 were written from the Ministry of Information in London, including one thanking Vernon Bartlett for his ‘very admirable pamphlet’. More letters to booksellers followed  – in the 1940s to Nicholas Bentley, a decade later to Harold Mortlake. In late 1949 and early 1950 Greene was considering buying a house in France, but gave up the idea. In 1952 there was an exchange

with a Countess Gabrielle Brandis about meeting in Austria. In 1956–7 Greene was on his travels, and sent his secretary Mrs Young postcards from Russia, Warsaw and New York. He sent Peter Russell a copy of The Potting Shed in 1958, and commented, ‘I don’t like it much myself.’ From time to time Greene turned down requests  – in 1961 he told [Alan?] Ross, ‘I haven’t got the energy to contribute anything on erotics or striptease.’ In the 1960s there are around twenty letters to the British educationist and author Gilbert Phelps. Greene successfully encouraged him to join the Bodley Head list and gave extensive help with Phelps’s books The Winter People and The Last Horizon. In 1965 he wrote to Bernard Wall stating that he didn’t want to join the organization Comes, preferring ‘to act as a lone wolf’. Correspondence with John Carter, John Hetherington 1963–73 John Carter was a book specialist and author who worked for the auction house Sotheby’s for many years. He was a friend of Greene and was instrumental in organizing various sales of the writer’s manuscripts in the 1960s and 1970s. He also helped Greene and Dorothy Glover with the publication of Victorian Detective Fiction a book based on their joint collection of works in this genre. John Hetherington was a second-hand book dealer. The contents of this file principally concern Carter’s part in promoting the book. It contains copies of a series of exchanges between Carter and Hetherington, published in The Times Literary Supplement, which were highly 115

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critical of the book, its inaccuracies and particularly the high price being charged for what was a lavishly produced limited edition. There are a number of book reviews included which are also mostly critical of the bibliographic work. Perhaps most telling was a rebuff from the Ellery Queen publisher/editor Frederic Dannay who refused to review the book on the grounds that it was full of inaccuracies. Carter’s attempt to get a ‘no-frills’ second edition published also failed to engender enthusiasm; a letter to Greene on the subject appeared to be ignored. There is also a short exchange of letters between Greene and Carter in 1963–4 concerning the sale of Greene’s manuscripts. This matter was understandably treated as highly confidential by the two friends. Correspondence 1970s; Correspondence 1980–3; Correspondence 1984–7; Correspondence 1988–90 and Date Indeterminable Although the HRC has divided this correspondence into four separate files, for the sake of continuity they are considered here as one as much of the correspondence overlaps these arbitrary dates. Rolando Pieraccini is Italian and has been a Finnish resident since 1975. He founded the publishing firm Eurographica which published high-quality, limited editions of Greene’s works during the 1980s including the play Yes and No, the children’s stories ‘The Monster of Capri’ and ‘The Monster’s Treasure’ and the short story ‘The New House’. Pieraccini first wrote to Greene in 1980, in order to establish contact, telling 116

him that he had acquired some of the writer’s correspondence. Presumably owing to the content of the letter, Greene invited Norman Sherry to reply which his biographer interpreted in his letter to Pieraccini as being on account of Greene’s age. Further correspondence between Greene and Pieraccini in the period 1981–2 concerns the publication of Yes and No and the children’s stories, the manuscript copies of which Pieraccini had recently acquired. In one letter, couched in the politest of tones, Greene gave detailed advice regarding the process of producing a limited edition. In another he suggested a minor textual alteration to ‘The Monster’s Treasure’ story because he had been unable to find a copy of the postcard of the particular Capri landmark he had used to illustrate the stories he had originally written for his two grandsons. Greene’s letters to Pieraccini from 1984 to 1987 concern issues related to the limited editions  – print run, design, royalties, Greene’s signature, and whether he would write introductions. The last letters Greene wrote to the publisher concern the publication of ‘The New House’ and Pieraccini’s invitation for Greene to visit Finland, which unfortunately never took place owing to the writer’s final illness. Greene hoped that Pieraccini would not mind that ‘The New House’ would be published for the first time in book form in The Last Word and Other Stories, ahead of the Eurographica imprint. In the event this was not the case and Pieraccini’s book was published first. Other correspondents during this period included letters from members

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of the public who recognized Greene as an avid fellow second-hand book collector. Among those was Eric Quayle who first wrote to Greene in 1973. The correspondence continued until 1990. Probably as a result of learning about Greene’s boyhood reading in A Sort of Life, Quayle sent the writer a copy of a boys’ short story collection. Greene replied enthusiastically, ‘I must have read The Pirate Aeroplane and it had some effect on a book of mine called England Made Me.’ The shared interest was undoubtedly cemented by Quayle’s fascination with Victorian Detective Fiction. Quayle’s lengthy letters over the next fifteen years centred on three topics: his ever-expanding book collection, his son’s career progress in the Foreign Office and invitations and plans for Greene to visit Quayle’s home in Cornwall. In an early letter Greene had expressed interest in incorporating a visit to Quayle into a tour of West Country second-hand bookshops with his brother Hugh. Their plans had had to be changed at the last minute and the visit never took place. Greene also wrote to a Mr Talbot (first names or initials were never used) over a number of years. Talbot was eager to become a writer and Greene was both encouraging and tolerant when sent extracts of his work to be read. He helped with practical suggestions about getting the work published. However, Mr Talbot appeared to suffer from mental health problems and sometimes found difficulty in accepting criticism. Eventually Greene asked Talbot not to send any more extracts. A handwritten letter to a Miss Valentine, undated but probably from

1987, answered some questions about himself  – ‘I used to find ideas easily or rather they found me, but no longer.’ He added that he always worked before dressing in the morning; and that he was now far too old to win ‘the prize’. Greene’s Copy of John Masters’ Bhowani Junction On the endpapers is ‘Graham Greene. Monte Carlo. May 54’, and random jottings and observations, apparently not on the novel itself  – for instance, ‘If only we saw as many Russians in Europe as Americans we might be fair to Americans.’

Box 3 Letters to Philip Dossé In two letters from April 1978 Greene asked to review a book on American publishers’ editors so he can ‘explode it’: he commented how pages were left out of the US edition of The Third Man, which therefore carried into the French and German editions. National Service Form; Typescripts The National Service (Armed Forces) Act came into force on the outbreak of war in 1939. The section of the form which survives in this collection, and which Greene completed, appears to refer specifically to writers such as himself and to others in the entertainment business. There are six typescripts of essays by Greene which later appeared in magazines and journals, a film treatment and a copy of an unpublished short story, ‘A Birthday in October’. All these items include minor changes. There is a typescript, with authorial revisions, of the introduction to the UK Collected 117

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Edition of The Third Man, published in 1976, and a page of typed additions to the introduction for the version published by the Daily Telegraph in that year. These additions expand a little on the ending of the film in the cemetery, and on the Russian attempt to kidnap Anna. Neither of these changes made their way into the later Ways of Escape, whose account of The Third Man is almost identical to the Heinemann / Bodley Head introduction of 1976. Jim Braddon and the War Criminal An undated typescript with authorial changes has ‘Part of Intro to The Tenth Man’ at the top. In a holograph cover letter from October 1986 Greene asked his nephew and book dealer Nick Dennys whether he could do anything with the typescripts. Greene Letters to Christopher Hawtree Christopher Hawtree edited and introduced the anthology Night and Day which includes an introduction and pieces by Greene, and he selected and introduced Yours Etc., a collection of Greene’s letters to the Press. There are over forty letters from Greene to Hawtree, from 1983 to 1991. Much of the correspondence is about writers, including George Birmingham and John Meade Falkner: Greene offered a comment for the dust jacket of Falkner’s The Nebuli Coat, for which Hawtree had written an introduction. Greene recommended books for Hawtree to read and commented on his work as a publisher in founding the Century Library. There is much else in the letters  – Greene mentioned his tutoring of a 118

young boy in 1925, his practical joking, and commented on the character of his uncle who was in the Admiralty. In 1987 Hawtree had written a film script of Greene’s novel It’s a Battlefield, and sent him a copy. Greene commented that it was ‘the only book of mine which I definitely wrote with films in mind’  – rather oddly, and ironically, since it has never been filmed. He sent detailed comments on the script. He said he did not like it, partly because it was too faithful to the book, with too much cutting away before the actors would have had the chance to establish their characters; but he liked the ending. He later encouraged Hawtree to go ahead with his new version. In 1988 Greene commented on his play A House of Reputation – that he had abandoned it in 1958 because he couldn’t find an ending to it, but that on taking it up a year ago he had found the ending obvious; so far he had not been able to find a producer. There are several letters from 1988 concerning Hawtree’s idea of a book of Greene’s letters: Greene alerted Hawtree to Judith Adamson’s forthcoming collection of his writings, stating that he had refused to have letters included in that selection. In January 1989 he commented on the forthcoming Yours Etc., ‘My fear is that the volume may prove a rather dull one’, but he later congratulated Hawtree on the good reviews the book attracted. He discouraged him from attempting a bibliography of Evelyn Waugh, and was glad when the project was abandoned. The correspondence continued well into Greene’s final illness, and although there was much talk of the two correspondents meeting, they never did.

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The Diaries of Evelyn Waugh and Related Correspondence There are five letters written by Greene to Philip Dossé, editor of Hansom Books, concerning the writer’s review of The Diaries of Evelyn Waugh together with a typescript of the review which contains changes and corrections. In the first three letters, Greene after agreeing to undertake the project, warned that the review would take time to complete owing to his frequent travels. He also noted that perhaps a third of his review would comprise ‘a brutal attack’ on the book’s editor. In the outcome, he apologized for the ‘untidy copy’ of the review which he blamed on the fact that he was currently lacking secretarial help. The Stranger’s Hand An undated typescript of the story of sixtyone pages covers some 13,000 words of unfinished story, and has additions and alterations, with some pages retyped. There is also a two-page synopsis of the remainder of the story, which was to be of around 7,000 words. This typescript seems therefore to indicate the stage in the story Greene had reached by the end of 1949. Letters to M. Moré and Jean Stafford Greene’s letters to Marcel Moré, concern the writer’s contributions to the Catholic theological journal Dieu Vivant which Moré edited. Among the letters which mostly concern editorial matters is one in which Greene refused to allow his article on Pope Pius XII to be published on the grounds that it would be unsuitable for the French public. The single letter to the writer Jean Stafford was written shortly after she

had separated from her husband, the poet Robert Lowell. Greene wrote in February 1948 suggesting she might rent the cottage on Achill Island off the Irish coast belonging to Catherine Walston. The letter was written from the Walston home at Thriplow Farm near Cambridge. That address, and the date, were both significant. Greene and Walston had visited Achill in April 1947 shortly after the start of their affair. Greene in his letter to Stafford, described Achill in great detail and apparently with great affection. He drew attention to the primitive facilities at the cottage which included a bucket for a toilet, a turf fire to cook on and rainwater collected in a butt for drinking. The contentment he found in this remote setting enabled him to complete writing The Heart of the Matter. He later commented that the last part of the book was the most satisfactory, a rare positive comment about a work which he professed to dislike. Correspondence: Mr Brian, Vivien Greene and Peter Quennell Single letters from Greene, written some twenty-five years apart, both concern his experience of attending a Mass in 1949 celebrated by Padre Pio who it was claimed carried the stigmata on his hands, side and feet associated with the wounds borne by Christ on the Cross. The experience made a deep and lasting impression on the writer. In his letter to his recently estranged wife Vivien in 1949 Greene wrote that he could believe in the miracle which had been attributed to Father Pio. His letter to Mr Brian, written in 1974, provides more detail of the event. He 119

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described being quite close to Pio during Mass and saw the stigmata on his hands which he noted were about the size of a half crown. The priest had tried to hide the marks with his sleeve during the service; he was not allowed to wear gloves while saying Mass. In both letters he claimed that the Mass had lasted about an hour and a half and that he had been amazed afterwards that the time had passed so quickly. Greene had known the writer Peter Quennell both at school and at Oxford. The correspondence in this collection covers the years 1968 to 1978. It is particularly revealing about Greene’s feelings for his father, a matter he rarely mentioned elsewhere. In 1968 he had written to his friend asking permission to quote from a letter Quennell had sent him in 1922 in which he had given an ‘admirable description’ of his father teaching. He added that he hoped to include it in his autobiography which he was currently engaged in writing. Three years later he returned to the subject. He wrote that he was delighted to learn from Quennell that ‘my father had connived with yours  – perhaps he had learned something from my near disaster’. This enigmatic statement was probably a reference to the incident when Greene ran away from home which led to him being sent to the psychoanalyst Kenneth Richmond. Greene added revealingly, ‘I too didn’t properly appreciate him  – really until I began to write about him. It was an odd sensation, as though we were communicating for the first time.’ In 1972 Greene wrote about their shared experiences at Balliol and particularly the early terms when they indulged in ‘jumping’, the method by 120

which they re-entered college after hours. Greene wrote that he was not ‘a noisy alcoholic’ and his spell of heavy drinking only lasted a term. Peter Quennell’s own autobiography was published in 1976. Greene wrote to him in that year thanking him for the copy he had been sent and condemning a critic who had described Quennell’s style as ‘mandarin’. He added, ‘Anything which is well-written now is called mandarin, but if it distinguishes the writer from the Snows, Amises and the Braines  – perhaps so much the better.’ Greene also observed how he still felt ‘very drawn’ to Berkhamsted and very occasionally spent a night there at The Swan. In the last letter dated February 1978 Greene declined Quennell’s offer to contribute to a book about Vladimir Nabokov which the latter was editing. He confessed to having only spent one evening with Nabokov and was ‘too lazy to make bricks without straw’. Saint Joan There is a Dialogue Continuity film script dated April 1957 and a Cutting Continuity script from May 1957, referred to above. Travels with My Aunt This is a revised screenplay dated March 1972, with a cover note stating ‘By George Cukor assisted by Katharine Hepburn’: Hepburn was for a long time the actress to have played Aunt Augusta in the film. The film’s ending, with a coin spinning in the air, is given a different treatment here. Handwritten Working Draft of Unfinished Novel, Untitled (3) The three-page opening to an unfinished piece of fiction, possibly intended to be

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a novel, is undated and untitled. Written as a first-person narrative it concerns a thirteen-year-old boy who becomes friends at school with a Frederick Jones. The narrator visits Jones’s house, stays the night and meets his friend’s parents. Mrs Jones who used to be a nun starts to pray for the narrator in his presence. The narrator confides that he is not sure he believes in God.

This Gun for Hire This is a film screenplay from April 1940, by Anthony Quinn and Lester Koenig, for Paramount. It is not the one used for the 1942 film. Viking Correspondence The Viking Press was responsible for publishing Graham Greene’s works in the United States from 1938 to 1969. Therefore this collection of letters which were addressed principally to two individuals within the organization, Ben Huebsch and Harold Guinzberg, constitute an important and little-known record of Greene’s relationship with his American publisher during the middle years of his career. The first letter, sent from Mexico at the end of Greene’s visit to that country in April 1938, is principally concerned with the non-arrival of the proof copies of his novel Brighton Rock. However, he found it impossible not to refer to his recent experiences noting that, ‘I got back here from Chiapas with a lot of material and a little dysentery’. He added that he never wanted to ride on a donkey again and hated both the country and its people. A day later he wrote again to tell Huebsch that he had traced the proofs to the Post Office but that he would be unable

to collect them for several days owing to customs regulations. He complained, ‘This place makes me a Fascist!’. Greene’s next letter, dated June 1938, was full of praise for the visual appearance of the Viking edition of Brighton Rock, which had been published the same month. He claimed that the dust jacket was the best he had ever had on one of his books. He told Huebsch that he had started writing a novel while in Mexico but had set it aside temporarily in order to commence writing a thriller, The Confidential Agent, with the idea of subsequently working on the two books concurrently. In a letter brimming with ambition and confidence, Greene wrote that he was pleased with the progress he was making with the Mexican novel, The Power and the Glory; was also working as a film critic, to show that the Shirley Temple affair ‘hadn’t knocked me out’; was getting some of his Mexican material published and was currently planning a trip up the Amazon River. The next few letters all written shortly before the outbreak of war mostly concern the US publication of The Lawless Roads. In April 1939 he wrote to Huebsch with a proposal for a book, perhaps to be called The First Hundred Days, which would be a personal account of conditions in a bombed London. He wanted to know if Huebsch was interested and added, ‘interest sounds horribly cold-blooded, but one’s got to treat the whole thing with some indifference if it breaks’. Although Huebsch expressed interest in The First Hundred Days, by July 1939 Greene’s attention seemed to have switched to another project. In an early 121

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example of Greene’s remarkable ability to foresee future world trouble spots he told his Viking editor that he had sold to Heinemann the idea for a book to be called Refugee Ship. He wrote that he needed to take passage on a Greek ship which he stated, ‘would fill up with refugees in Constantinople and try to smuggle their load into Palestine’. He felt ‘there’s a fine and moving story in it . . . if only I can get seven feet by three of deck space!’ There is a lengthy break in the flow of correspondence during the war years which ended with his US literary agent Mary Pritchett writing to Marshall Best at Viking on behalf of her client. Pritchett wrote that Greene had been highly critical of the publicity Viking had produced for The Power and the Glory, implying it was a thriller when it was not. Greene had been fearful of losing his serious readership in the States and wanted to emphasize the distinction he had set between his ‘novels’ and his ‘entertainments’. Unless such a distinction was understood, he would consider leaving Viking. Amicable relations seemed to have been restored by the 1950s. In April 1952 Greene wrote to Harold Guinzberg, the founder and president of the company, that he was glad he liked England Made Me and wanted to republish the novel. He claimed that he had wanted Heinemann to use the US title for the book, The Shipwrecked, and that he had never liked the UK title. Greene predicted that The Quiet American might prove controversial in the United States owing to its anti-American sentiments. He warned Guinzberg of this as early as February 1955 and in November of the same year suggested 122

the publisher should not feel obliged to accept the work: ‘I believe under the new copyright arrangement one no longer has to publish in the USA in order to keep one’s copyright.’ Clearly Guinzberg had seen proof copies of the novel by then; it was published in the United States in March 1956. Guinzberg had evidently been concerned about the passage referring to colonialism. Greene sought to clarify his opinions stating, ‘I would not have said that Hawaii was part of the American continent. I don’t think you could regard these as mere shifts in land-holdings. I think the question is less a muddle about history than a muddle of emotional attitudes – perhaps on both sides.’ Greene wrote to his publisher in February 1958 regarding Our Man in Havana which he stated, ‘seems to be getting longer and longer’. The implication appears to have been that the writer intended it to be a short work, similar in length to Loser Takes All. A month later he wrote again expressing his dissatisfaction with the book and in May he warned Guinzberg, ‘Don’t expect anything much  – it’s a very light entertainment even though it’s full length.’ The first serious indication of tension between publisher and writer occurred in 1965 over the novel The Comedians which was due to be published in January 1966. Harold Guinzberg had died four years earlier and Greene now communicated mostly with Marshall Best. The company employed a lawyer, Renee Schwartz, to scrutinize the book with a view to potential libel problems as well as perceived inaccuracies in the

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text. Schwartz produced a three-page report together with one-and-a-half pages detailing specific concerns. Greene replied with four pages of response to each ‘concern’, adding in his accompanying letter that he was ‘shocked’ to read the report. ‘If one really followed his views it would be utterly impossible to write any kind of novel whatever.’ Greene’s growing dissatisfaction with Viking was evident the next year in a letter to Best when he complained about a Bantam paperback edition of one of his books which was unnamed in the letter. He wrote, ‘It looks like something produced by Lord Leighton in the 1870s, with the addition of a lesbian touch which I completely fail to see in the book.’ He also wanted the phrase, ‘The famous novel of sin and damnation’ removed from the blurb. Matters came to a head over the publicity and presentation of Travels with My Aunt. In September 1969 he wrote to Harold Guinzberg’s son Tom, who had succeeded his father as company president, that he feared that the new novel would be treated ‘as a funny book’. He cited the US sales of Our Man in Havana which had been marketed similarly and had sold a mere 14,000 copies in the United States compared with 100,000 in the United Kingdom and 60,000 in France. He added, ‘I was afraid you might advertise Travels with my Aunt as a funny book and a funny book coming from me would always be treated as an inferior one.’ The next month he wrote again, this time to Marshall Best, complaining about the book cover which again according to Greene gave the wrong message about

its content. Later in October, his patience clearly exhausted, he wrote what was to prove to be the final letter. ‘Unless your memory is very short you ought to be able to recall that I nearly withdrew the book from Viking Press (the contract not yet having been signed) when I realised that you hadn’t the faintest idea of the kind of book you were dealing with by suggesting the title “Crook’s Tour”.’ He went on to remind the company that he had agreed to the publication on condition that it was not publicized or published as a comic book. He now had no confidence in Viking Press. Greene’s next novel The Honorary Consul was published by Schuster and Schuster.

Boston, Massachusetts BOSTON COLLEGE GRAHAM GREENE PAPERS (MS1995–03)

Series I: Correspondence Sub-Series A: General Harold Acton Three of Acton’s letters, dating from 1924 when both men were at Balliol College, appear quite frosty in tone. Acton asked if Greene intended to publish his poems in the student journal Oxford Outlook which Greene edited at the time. He requested that either the poems should be given prominence in the volume or not be published at all. In another letter Acton instructed Greene to ‘get something published’ before the arrival of Edith [Sitwell]. The correspondence resumed in 1952 and the tone thereafter was much 123

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friendlier with both men exchanging kind words about each other’s work as it was periodically published. The only exception was Acton’s reaction to The Human Factor about which he was less than enthusiastic. Harold Acton visited Greene’s house in Anacapri on more than one occasion and enjoyed the company of Catherine Walston who was invariably in attendance. The last occasion seems to have been in 1964 or 1965. In December 1965 Greene wrote to Acton that, ‘1965 has been a terrible year for you, a terrible year for Catherine with four major operations and a pretty disagreeable year for me with curious expatriate characters in Switzerland disappearing with everybody’s money and landing in gaol for forging dollar notes’. Greene described in some detail his experiences in China in a 1957 letter. He wrote about this visit nearly three decades later in an article for The Times in 1985 entitled A Weed Among the Flowers. Although Greene appreciated the opportunity to visit the country and to see the sights, ‘Of course, the Great Wall was superb . . .’, he found his companions on the visit ‘. . . a trial. I don’t think I could have borne the trip with an aged Labour peer, member of the School of Economics, a teacher of education and a large sentimental Jewish lady, if it had not been for two charming Chinese interpreters’. Yves Allain Greene’s friend Yves Allain had fought in the French Resistance in the Second World War and was murdered in mysterious circumstances in Morocco in 1966. The folder contains a copy of Greene’s letter to The Times, drawing

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attention to Allain’s death and paying tribute to him; the letter was published on 24 November. There are also two copies of a longer, four-page tribute to Allain by Greene, also published by The Times that month. Richard Attenborough Greene’s association with Richard Attenborough is best known through the actor’s memorable performance as Pinkie in the 1947 film Brighton Rock. Among this small collection there is a letter from Greene in 1986 replying to a ‘thank you’ from Attenborough for using his influence to secure a part for his daughter Charlotte in the film of Greene’s short story ‘May We Borrow Your Husband’. Greene confessed to have not watched the film but to have intensely disliked Dirk Bogarde’s script. He particularly condemned the inclusion of a gay nightclub scene when the two men go off with the husband. He felt that this removed any mystery from the narrative. W. H. Auden In a single letter from July 1951 Greene said he hoped to meet Auden on Ischia in October. Anita Björk This correspondence is almost identical to the collection held at Georgetown University. However in one unduplicated letter Björk revealed why she could never have contemplated living with Greene in the south of France, stating frankly that it was not the kind of life which would have suited her. Ray Bradbury The exchange of letters between the two writers was initiated by Bradbury who

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wrote in praise of Greene’s work and of The Third Man in particular. They discovered a mutual admiration for the film director Carol Reed. Greene stated that he regarded Ray Bradbury as one of only two science-fiction writers he admired, the other being J. G. Ballard and considered the pair to be ‘artists’ as well. Peter Brook Peter Brook was the director of the acclaimed 1956 stage version of Greene’s The Power and the Glory, and he and his wife Natasha were Greene’s friends for many years  – the correspondence here runs from 1954 to 1987, although there is a lengthy gap between 1965 and 1981. There are around twenty-five pieces of correspondence from the Brooks to Greene  – often postcards, sometimes telegrams, very often undated  – and around the same number of Greene’s letters to them. Many of the early letters concern progress with the adaptation of The Power and the Glory, and in 1956 Greene sent a telegram giving his reaction to the staging – ‘Play good but production finest I can remember seeing in theatre anywhere any time.’ Other possible productions came into the correspondence, including in 1955 for a Greene musical comedy called My Girl in Gaiters, a work eventually published as a short story with the title ‘Work Not in Progress’. Another possible production was referred to in 1964 for what Greene called ‘a remarkable play’, Goa. Greene commented at other times on other Brook productions he had seen, and in 1956 gave long and critical comments on the manuscript of a novel Brook had written. The tone was friendly,

with one Christmas card from the Brooks containing a naughty ecclesiastical limerick, and Greene arranged meetings with the Brooks from time to time and kept them in touch with his travels. Brigid Brophy The correspondence concerns the foundation of the Writers’ Action Group which campaigned for the payment of public library lending rights to authors. Brigid Brophy was heavily involved in this movement. Greene provided monetary support but stated that he was against the foundation of a union. One letter from Brigid Brophy, jointly signed by Maureen Duffy, formally thanked Greene for his support. Anthony Burgess Five letters from Burgess to Greene date from 1968 (enclosing an earlier one from 1960)  to 1980. Four of them concern visits by Burgess to Greene in Antibes, in 1979 and 1980, the latter resulting in an Observer article Burgess wrote on the forthcoming publication of Doctor Fischer of Geneva. Three letters from Greene to Burgess include one which concerned issues of publishing and translation in France. The other two, both critical of his fellow writer, are to be found in the Texas collection. Other materials include a photocopy of two pages from Burgess’s 1990 book You’ve Had Your Time, covering Greene’s Observer interview with Burgess and the sour relations between the two writers. Tom Burns The Jesuit-educated Burns was a director of the Catholic newspaper the Tablet and a publisher with Longmans. The two first

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met in 1929, and Greene visited Burns at the Tablet. They worked together at the Ministry of Information during the Second World War. From 1967 to 1982, Burns was editor of the Tablet. At Boston there are twenty-five letters from Burns – many of them handwritten – and twentyseven from Greene. In his excellent introduction to Articles of Faith: The Collected Tablet journalism of Graham Greene, Ian Thomson describes Greene’s letters as mixing mischief and candour. The correspondence begins in 1976 with Greene becoming a Tablet trustee. Greene commented on individual issues and articles in the newspaper, and made suggestions for new articles and other material. After a dinner together in November 1978, Burns accepted Greene’s offer of a short story for the upcoming Christmas number – but, Greene said, it was not a short story but ‘the first chapter of a novel in progress’: what became Monsignor Quixote, extracts from which appeared in the Tablet in December 1978, 1980 and 1981. Greene later commented that he didn’t like the line drawings accompanying the 1978 extracts, but thought the 1980 drawings much better. Greene often made suggestions for raising money for the newspaper: in December 1978 he offered the fifteenpage manuscript of the beginning of an early draft of A Sort of Life, then entitled ‘One Hundred and Ten Airports’, for the Tablet to sell. Over the years the friends corresponded about matters of Catholic interest – birth control, the new pope  – and in 1982 Greene turned down Burns’s request for an article on ‘Five Minutes with the Pope’. There was an exchange in 1981 on 126

Chinese editions of Greene’s books, and a particularly strange cover of a Peking edition of The Heart of the Matter. In 1981, too, Burns commiserated with Greene over the death of General Torrijos, and in later years thanked the writer for inscribed copies of his books. In February 1985 Greene commented of Getting to Know the General, ‘I am not very fond [of it] . . . but I really loved the man.’ In a letter of October 1989, Greene expressed regret at the syndication of his recent interview with the Tablet, with its inaccuracies, but commented that the newspaper ‘remains a monument to your work’. Greene’s last letter to Burns, in June 1990, informed him of the blood transfusions which were keeping him alive. The last letter in the archive, from April 1991, is from Burns to Greene’s niece and secretary Amanda Saunders, just after Greene’s death. It covered Greene’s last days, his greatness, the loss, and Burns’s memoir of his friend, recently published in the Tablet. John Cairncross John Cairncross, an acquaintance from Greene’s time in the Secret Intelligence Service, became notorious as a double agent and was long suspected as being the so-called Fifth Man in the Cambridge spy-ring which included Burgess, Maclean, Philby and Blunt. The correspondence dates from the last decade of Greene’s life when the revelations about Cairncross were public knowledge. It is evident that Cairncross had contacted Greene after a number of years. The writer’s reply was rather formal in tone and most of his answers to queries by Cairncross were negative.

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Greene was ‘puzzled’ by some of the photographs he had been sent, they did not look like Cairncross and only the address tallied. He had not enjoyed Cairncross’s latest translation of La Fontaine’s poetic works and he did not know of anyone who could afford to buy a property in Capri. Referring to the then recent media attention paid to John Cairncross, Greene made an enigmatic reference to their time together in the intelligence services, ‘What puzzled me was that the papers hadn’t got on to your connection with Section V.’ By contrast, later letters are more cordial, often helpful. Greene sympathized with Cairncross’s problems with the press, offered to write in his defence and gave advice about a book suggesting Max Reinhardt as a possible publisher. Cairncross’s letters are long and rambling and display a total lack of mastery of his typewriter tab key. Father Philip Caraman This correspondence supplements a much larger collection of letters sent by Greene to his priest friend which is described later in this description of the Boston College archive. Letters include Caraman’s reactions to the author’s books  – the latest of which invariably elicited an enthusiastic response. For example, he thought William Callifer in The Potting Shed to be the best fictional priest since The Power and the Glory. In 1961 Greene consulted Caraman regarding a reviewer for A Burnt-Out Case after their mutual friend Evelyn Waugh had indicated that he did not want to take on the task himself because of the book’s treatment of Catholicism.

Greene wanted at least one, ‘reasoned, unemotional and non-clerical reaction in Catholic circles’ to a book which Caraman thought surpassed even The Power and the Glory. Some five years later Caraman was clearly distressed by Evelyn Waugh’s seeming decline into a state of melancholy. Greene refuted this idea and suggested electric shock therapy which, he claimed, had worked for John Sutro who had demonstrated similar symptoms. Alberto Cavalcanti Greene’s long friendship with the Brazilian-born film producer and director is probably best remembered through Cavalcanti’s successful adaptation of Greene’s short story ‘The Lieutenant Died Last’ which was first screened in the United Kingdom in 1942 as Went the Day Well? In 1974 Greene was asked to write a preface to Cavalcanti’s biography. Laetitia Cerio Laetitia Cerio was an artist on Capri, where Greene had a villa from the late 1940s. The two first met in 1953 and became friends, but the correspondence at Boston begins rather later – 1974 – and continues through to 1990. There are far more letters from her to him than from him to her – thirty-five, to only eight – and those from Cerio are longer. Her letters brought Greene the latest gossip from Capri and talk about art and Greene’s books, among many other things. In June 1981 she asked Greene to provide an introduction for her exhibition of paintings and drawings in New York, and he obliged with a paragraph, a copy of which is in the archive: Greene said that ‘there is only one painter of Capri, Laetitia Cerio’, 127

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in whose paintings ‘There is magic in the air’. Further correspondence shows that Cerio used the introduction in later exhibitions in Naples and Capri. Charlie Chaplin The depth of the mutual admiration which existed between the world-famous film actor and the writer is embodied in the warmth of the six Christmas cards sent from the Chaplin family to Greene. Greene’s letters to Chaplin include a copy of the ‘Open Letter’ published in the New Statesman in 1952 criticizing Chaplin’s treatment by the US Government during the scourge in the early 1950s of those who were perceived to harbour left-wing tendencies.

living in France, Diana Cooper returned to London and this set the pattern for their future correspondence with her invariably thanking Greene for still being a recipient of his latest novel and begging him to come and visit her. Cooper continued to write until two years before her death in 1986. Sadly, the penultimate communication is complete nonsense and is addressed to a ‘Graham Page’. Greene remarked on the margin of the postcard, ‘Poor old thing. I wonder who Page was?’

Claud Cockburn Claud Cockburn, a journalist, was a friend from Greene’s days both at Berkhamsted School and later as an undergraduate at Balliol College, Oxford. The correspondence includes a begging letter from Cockburn in 1965 asking for a loan of £200.00. Some of the later correspondence concerns Greene’s foreword to his friend’s autobiography Cockburn Sums Up. Greene apologized for the brevity of the foreword citing other pressing writing commitments.

Roald Dahl There are six letters, three each from Dahl and Greene. In May 1983 Dahl reported that his 18-year-old daughter had been in Haiti, and asked if Greene would like to meet her. Greene replied that he would – she ‘sounds incredibly brave’ – and added ‘I have read [your books] for many years with admiration.’ Two years later, in a jolly handwritten letter, Dahl said how absorbing he had found Greene’s Getting to Know the General. He invited Greene to read his own book Boy for schoolboy reminiscences of the 1920s, and Greene’s reply added some schooldays reflections of his own. A further exchange of letters followed in 1986, in which Dahl congratulated Greene on his OM and on the downfall of Baby Doc Duvalier.

Lady Diana Cooper Lady Diana Cooper, one of the most famous socialites of the twentieth century in Britain and France, had a long friendship with Greene. The tone of the sole letter from Greene in this collection seems to capture perfectly the upper-class languidness of the socialite’s world. He wrote, ‘Your cure sounds ghastly and Chantilly should be heaven after it’. After

Bernard Diederich This highly important sequence of files sheds light on the relationship between the writer and the journalist Bernard Diederich who used his intimate knowledge of Central and South America both to introduce and to educate Greene about the region and its often violent politics. The two men first met in Haiti in 1954, became close friends, travelled

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together and remained in frequent contact until Greene’s death in 1991. Greene’s letters to the journalist at the University of Texas complement this collection. The first of nine separate files of correspondence covers the years 1965–9. It deals principally with the reception and the impact in Haiti of both the book and the film of The Comedians. In a letter to Diederich written shortly after he had sent his friend a copy of the book, Greene confessed that he had been afraid that he had made some factual errors which Diederich would spot immediately. As well as discussing the reaction of the Haitian dictator Duvalier, Greene also referred to newspaper reports that both Richard Burton and Elizabeth Taylor had received death threats while filming the novel. In a letter dated April 1968 Greene mentioned the generally poor reception the film had received in the press. He thought that contemporary reviewers only seemed to enjoy the avant-garde with simple storylines and few characters which allowed the director plenty of scope for imaginative film editing. The film, for which Greene wrote what was to be his last screenplay, relied he thought on a ‘rather solid story’ and that there was no alternative but to provide ‘a rather solid script’. Several of the letters of this period also refer to the manuscript of a book Diederich had written about Haiti and the Duvalier dictatorship. Greene showed his customary willingness to bring his influence to bear in order to help his friend find the right publisher. He also gave advice about editing the manuscript which he had read. Diederich’s book Papa

Doc: Haiti and Its Dictator includes an introduction by Greene. The next two files, which broadly span the 1970s, continue to make reference to Haiti, cover the writing of The Honorary Consul and The Human Factor and include the early interest shown by Greene in visiting Panama. Diederich, with his knowledge of the country, was instrumental in providing the necessary advice and contacts. The following couple of files are not presented quite sequentially and therefore overlap both in time and in subject matter. They cover Greene’s increasing involvement in and affection for Panama and for General Omar Torrijos and Chuchu. In a letter dated December 1976, the writer thanked Diederich for introducing him to ‘one of the most charming countries I have visited’. He noted that he had grown to like Torrijos more and more as he got to know him and felt that the affection was reciprocated once the General had realized that Greene was not an intellectual. He added, ‘I even got an idea for a novel when I was in the country.’ By January 1977 Greene was convinced that ‘a novel is emerging into my sub-conscious’ with Chuchu as the main character. In the meantime Greene had written what turned out to be an important but controversial article for the New York Review of Books entitled ‘The Country with Five Frontiers’. He confessed to Diederich that he was nervous that the General would consider the content to be too personal. By the following year, Greene’s attitude had changed somewhat. He felt reluctant about returning to Panama yet again and 129

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feared boredom as Diederich would not be there in support. Later he wrote that the 1978 visit was exhausting and he expected it to be his last. Three years later Greene told his friend that he ‘very much feels’ the death of Torrijos who was killed in a plane crash in 1981. Persistent efforts by Chuchu to get him to pay another visit to Panama the following year provoked the response, ‘it would be like going to see Hamlet played by an understudy’. Diederich and Greene also discussed the wider politics of Central America, particularly the situation in Nicaragua under the Somoza regime which Diederich visited at a dangerous time in its recent history and Greene’s involvement in the signing of the Panama Canal Treaty. There were references made to the completion of The Human Factor, which Greene thought an unsatisfactory book and to the writing of the memoir Getting to Know the General which he completed once his ‘Panama novel’ had failed to materialize. The penultimate folder, covering the years 1984–9, revealed that the writer, now in his 80s, was less keen to commit to long distance travel and Diederich through work was now directing his attention more to South rather than Central America. The men still debated Central American politics and troubles. Greene showed concern for the future of Panama in the aftermath of Torrijos and for the well-being of Chuchu under the new regime. The last file, 1989–93, contains the final exchanges between the two friends and the condolences sent to the family following Greene’s death. 130

Jocelyn Donner (née Rickards) The two files each refer differently to the Australian-born Jocelyn Rickards, first by her married name and then by her maiden name by which she was usually referred to in her professional life as an artist and successful stage and screen designer. Greene met her at a cocktail party in the early 1950s and, by his own admission, their subsequent affair lasted only a few weeks. However, in common with other girlfriends and mistresses, their friendship lasted a lot longer. It is difficult to be entirely accurate about the dates of some of the exchanges as Rickards regularly failed to include the year on her letters or cards. However, the earliest letter in the files from Rickards to Greene following their affair is recorded as being September 1955. She told him that she was living in a flat in Rome and asked about the filming of the short novel Loser Takes All. Her evidently rude assessment of Glynis Johns’ inclusion in the cast was gleefully employed by Greene in his reply, ‘I am afraid we are landed with that breathless little pudding.’ It is clear that Rickards tried to avoid making any public comments about their affair as she was aware of Greene’s wish to avoid any publicity on the matter. Her letters are warm and affectionate particularly when recalling their brief liaison which she wished had lasted longer. In July 1990 she wrote to Greene to thank him for sending her a copy of The Last Word and Other Stories, published that year. She was amused to find that it included ‘Work Not in Progress’, with its subtitle ‘My Girl in Gaiters’ with which she was more familiar. She reminded him that she had the original manuscript with

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that title. He replied that if she wanted to sell the manuscript it would be worth quite a lot of money. Norman Douglas The writer Norman Douglas lived the last few years of his life on Capri, where he died in 1952, and Greene met him there in 1948, becoming a friend and supporter. There are seventeen letters and postcards at Boston from Douglas to Greene, from 1948 to 1951  – and none from Greene, though it is evident he wrote some. They are generally short letters, often written in green ink and often wishing ‘love to Catherine’; Douglas’s article on Paradise Lost was mentioned, as was Douglas’s book of aphrodisiac recipes, Venus in the Kitchen, for which Greene wrote an introduction. There is a series of letters written to Greene in 1951 in the aftermath of Douglas’s death, but only one by Greene, in March  – to Neil Bell, goading him into attacking Harold Nicolson for his obituary notice on Douglas. A series of letters in 1954 chronicle Greene’s outrage at Richard Aldington’s book Pinorman, about Douglas. In two letters in April he described Aldington’s book as ‘libellous’ and ‘outrageous’. On 30 April, Greene sent a review of the book to John Lehmann at the London Magazine, asking him to take the risk of publishing it. When Lehmann replied that the review could not be published for legal reasons, Greene sent a letter to Aldington and a copy of the long review in May, in effect daring him to sue for libel; both documents are in the archive. In June Greene reported that no reply had been received from Aldington. There is a

further exchange of related letters in June and July 1960. H. Alan Clodd wrote from Clapham claiming that Aldington and his friends had proposed to counter Greene’s review with a pamphlet, to be called either Hepetology of Literary London or Black Douglas and White Ladyship. The pamphlet was never published. Greene gladly sent him a copy of the review, and received a copy of the pamphlet in return. He wrote that he could see why the pamphlet was never published, for reasons of libel, and of his own review commented, ‘London Magazine would only consent to publish it in a castrated form after consulting solicitors.’ The review was eventually published in the London Magazine in 1966. In the Douglas file there is also an amusing exchange of letters from 1954 in which one Robert Partridge tried to exchange a first edition of Douglas’s South Wind for a Greene inscription on his copy of Babbling April. Greene refused. In 1966, a suggestion was made to Greene that Douglas’s pornographic lyrics might be published. Leopoldo Durán Details of Father Durán and his relationship with Greene can be found in the section on Georgetown University, where Durán’s papers are held. The correspondence between Greene and Durán at Boston runs to nineteen files, dating from 1964 to 1993. The last files, after Greene’s death, have correspondence with members of the Greene family, especially Amanda Saunders. There are at least two of Greene’s letters at Boston which do not appear at Georgetown: one from August 1976  – in which Greene 131

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gave his telephone number and sent a copy of An Impossible Woman and of his Shakespeare Prize speech – and one from October 1976. Father Durán only began to keep copies of his letters to Greene from December 1976, so the Boston archive has the only copy of those letters from 1964 to 1976. This includes the first two (both addressed to ‘Sir Graham Greene’), in June 1964 asking Greene three questions related to Durán’s proposed thesis on him and in July of that year thanking him for his reply. Durán’s next two letters, in September 1968 and August 1971, kept Greene updated on the progress of Durán’s academic studies on Greene. Much of Durán’s correspondence in the early 1970s refers to copies of his work which he forwarded to Greene. T.S. Eliot The three letters from Greene to T. S. Eliot all date from a short period 1955–6 and stem from a trip Greene made to Poland in late 1955. Greene described how he had met a group of theatre students who were performing Murder in the Cathedral at a small venue instead of at a large auditorium owing to the religious persecution being exercised in the country at the time. He asked for a signed copy of the play which he wanted to forward to the students. In a later letter he asked if he could arrange for a Polish professor who was making a short trip to England to meet Eliot. After Eliot’s death in 1965 Greene was asked, presumably by a would-be biographer, about his relationship with the famous writer. Greene replied that he only knew him slightly while Eliot was 132

living with his friend John Hayward and had ‘always found him a rather aloof creature’. Shusako Endo Greene was at least partly responsible for getting the works of the Japanese Catholic writer known and published in the West. Greene’s letters to Endo were extremely friendly and encouraging and drew effusive responses from a possibly surprised but flattered Endo. The second file in the collection demonstrates Greene’s continuing support once this younger writer was better known outside his own country. However, he confessed to being unable to read one of Endo’s stories The Sea and Poison because it was about a medical operation. He also missed the chance of meeting the writer both in Italy and in Paris and there was some confusion in 1986 when he had to tell Endo he would not be attending a writer’s conference in Taiwan when the latter mistakenly thought he would be making the long journey. Margot Fonteyn The correspondence covers a relatively short period between 1952 and 1959 when both Fonteyn and Greene, for different reasons, were at the height of their careers and popularity. Their relationship has become well known as the affair that did not happen through a reference in an undated postcard from Fonteyn in which she conceded that it was just as well that they never started an affair as they would have had little chance to continue it owing to their busy work schedules and incessant travelling. Margot Fonteyn’s letters frequently concerned her fragile state of health, news of her work and

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complaints that they never seemed able to find time to meet. Greene’s sudden and unexpected enthusiasm for ballet was clearly an outcome of her influence. In one letter he referred to a ballet film idea which he had discussed with Alexander Korda, ‘which slightly grows every time I give an account of it’. Michael Gallagher Michael Gallagher is an author and translator of Japanese literature, and was for a time a member of the Society of Jesus. The twelve letters here, from 1964 to 1982, include four from Greene to Gallagher. In the first, in April 1964, Greene remarked that he did not write his books with his critics in mind. In January 1967 he wrote that he would like to visit Japan ‘but I am a little afraid nowadays of travelling anywhere where there is a danger of being with earnest students asking questions or demanding talks’. In August 1982 Greene stated that the model for Saavedra in The Honorary Consul was not Gabriel Márquez  – ‘a good friend’  – but Eduardo Mallea, ‘a rather lesser Argentinian novelist’. Greene’s last letter, of November 1982, thanked Gallagher for a review he had sent. Georgetown University Library The two files include important bibliographical information relating to some of Greene’s original manuscripts and correspondence and explain how these mostly unpublished documents were acquired by the University of Georgetown. Practically all the correspondence consists of letters exchanged between Greene and Joseph Jeffs, the University Librarian. The second one shows how, in the last decade of his life Greene became

preoccupied with securing the legacy of his work and also personally interested in acquiring a copy of a very early, undated novel he wrote entitled The Episode which had been acquired in manuscript form by Georgetown University as part of the Catherine Walston collection. In late November 1989 he enquired of Jeffs whether this would be possible as he wanted to read it again before he died. He related how he had enquired of Heinemann (who rejected it originally but presumably still held a copy in their files) but had been kept waiting for six months before having his request declined This demonstrated the strength of the ill-feeling which seems to have existed between publisher and author over twenty years after Greene decided to leave the company. Greene was hopeful that The Episode would prove to be of better quality than the two published novels that followed The Man Within, namely The Name of Action and Rumour at Nightfall. By the following September, Greene had read a photocopy of The Episode which Jeffs had sent him. He had been convinced that it had been set in Victorian London among Spanish refugees from the Spanish Carlist War  – but it was not. He noted that there was one scene involving a Victorian hansom-cabman speaking Victorian slang which ‘I would have thought beyond my ability to write’. A second letter, in October 1990, which related to an enquiry made by Jeffs, stated that he had left strict instructions with his literary executor that neither of the two manuscripts, referring here to The Episode and his other early work Prologue to Pilgrimage, were to be published after his death. 133

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Greene also showed that he was prepared to negotiate on behalf of others for the sale of materials relating to two of his lovers, Yvonne Cloetta and Catherine Walston. In one letter he told Jeffs that Cloetta was thinking of selling 200 of his letters on condition that they would not be made publicly accessible until Yvonne, her husband Jacques and Greene were all dead. He wanted to know how much they would be worth. Subsequently, Cloetta decided against selling them. In the case of the Catherine Walston collection, Greene managed to persuade Catherine’s widowed husband to meet a representative from Georgetown, Nicholas Sheetz, in order to discuss the sale of arguably the most important and revealing set of unpublished materials in existence relating to Greene’s love affair with the American wife of a Labour peer. It has to be remembered that details of this affair were not made public knowledge until after Greene’s death. In a later communication Jeffs revealed that the university paid $150,000 for this collection. Other exchanges between the two men refer to Norman Sherry who he seemed anxious to avoid meeting face to face, to his bibliographer Neil Brennan and to work on A World of My Own: A Dream Diary. Peter Glenville Peter Glenville directed Greene’s first play The Living Room in London in 1953 and produced and directed the 1967 film of The Comedians, with a screenplay by Greene. There are eighty-four letters between Greene and Glenville at Boston, thirty-four of them from Greene. They run from 1953 to 1984. 134

A series of letters from Greene in 1953 concern the long run of The Living Room at the Wyndham’s Theatre; in July Greene wrote that he had taken the occasion of the hundredth performance to see the play again, and he gave detailed comments to Glenville on how some things had slipped in the performances  – ‘the sooner you rehearse the company again the better’. In the same letter he told Glenville that he had finished the first scene of his next play, The Potting Shed – ‘a little bit sticky to begin with but I think it has got some good stuff in it’. The correspondence picked up again in the late 1960s and early 1970s. Possible projects were discussed  – Bernanos, The Night Walkers, filming The Good Soldier; travel plans were discussed, there was theatre talk, and suggestions for meeting. Greene and Glenville were on friendly, first-name terms. In 1972, Greene commented that because of language problems The Honorary Consul was really unfilmable, adding, ‘and I’m not sorry!’ In June 1973 he stated that he would not go to see the film of Travels with My Aunt  – ‘I don’t see the point coming out of the cinema in a state of anger which always upsets my stomach’ – but would see England Made Me, which had attracted fairly good reviews. In October 1974 Greene asked Glenville if he would consider directing The Return of A.J. Raffles, but the idea came to nothing. There are seven further letters to Glenville between 1977 and 1984. Miron Grindea Miron Grindea was the editor of the ADAM International Review, a literary quarterly. Of the three letters from

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Greene, two are not in the archive at King’s College London  – letters from 1977 and 1983. Václav Havel Václav Havel was a Czech playwright and dissident who became president of his country. He was a friend of Greene’s. The Boston file contains twelve items. There is an exchange of letters from 1976 to 1977 in which Greene passed on to the journalist Bernard Levin a letter from Havel concerning persecuted Czech musicians. In January 1990 Havel wrote of his sorrow at Greene’s illness, and Greene sent his thanks in reply, stating that he was delighted that Havel had become president. In August that year, Havel wrote inviting Greene to come to Czechoslovakia as a guest of its writers; Greene’s reply in October regretfully declined on grounds of health, and remembered an evening together in 1969. A further letter that same month passed on a ‘moving’ letter in Czech to Havel. Patricia Highsmith American novelist and short story writer Patricia Highsmith began a correspondence with Greene in August 1969, asking him to provide a foreword to her forthcoming collection of short stories, published as Eleven in the United Kingdom and The Snail-Watcher and Other Stories in the United States. Greene wrote the foreword. The Boston collection as a whole consists of fiftytwo items, twenty-one of them letters from Greene to Highsmith in what is obviously an incomplete collection. One Greene letter from 1974 is followed by two from 1981 and one from 1984, then fourteen between 1985 and 1990 as their

friendship developed; from 1985 they were ‘Pat’ and ‘Graham’. Highsmith was living in Switzerland by the 1980s, but despite regular references to how good it would be to meet, they never did. The two sent each other copies of their latest books, and received comments in return. Greene’s letters were generally short but friendly – he offered advice on taxes and on accepting an offer from the BBC for her Ripley stories, and congratulated Highsmith on a land purchase. Gossip was exchanged, and there was news of Greene’s deteriorating health. In her last letter to him, in August 1990, Highsmith expressed her admiration for a number of his most recently published collection of short stories. In his final letter, in September, Greene remarked that he preferred Reflections, the forthcoming collection of his writings, to The Last Word and Other Stories, although of the latter he liked ‘The Moment of Truth’. William Igoe William (Bill) Igoe was a journalist friend. The correspondence shows that Greene respected his friend’s opinions on literary matters, a subject which forms the principal topic of their correspondence. Igoe expressed rare approval of Greene’s unpopular play Carving a Statue. Initially he had been baffled by the production he saw which elicited an exasperated response from the writer: ‘The first two acts were meant to be farce, but Ralph Richardson insisted on playing them as if it was The Master Builder.’ Once informed, Igoe remarked that he found the experiment of crossing farce with tragedy fascinating and said he 135

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enjoyed the play because of the quality of the dialogue. Bill Igoe was instrumental in introducing the author to Norman Sherry. In December 1973, Igoe wrote to Greene that he had met him and had found him very agreeable. Sherry too had been very encouraged by Greene’s positive comments about his critique of Conrad’s novel The Secret Agent. Further exchanges over the next few months drew the writer and biographer closer together. Greene stated that he was prepared to use his influence with Max Reinhardt to help Sherry find a publisher and the latter told Igoe that he wanted to write about Greene and proposed to take a sabbatical from his work as a university lecturer in order to travel and to relate Greene’s work to the writer’s many journeys. In a later exchange, Greene showed his customary punctiliousness when correcting Igoe about the writing of The Power and the Glory. He told him that he had been commissioned by Longmans to write a book about religious persecution in Mexico, The Lawless Roads, and never imagined that a novel would emerge from that although he did use some of the background detail in The Power and the Glory. Tom and Isobel Laughton The principal matter discussed in this series of exchanges with the Scarborough hotelier and his wife concerned Tom Laughton’s autobiography Pavilions by the Sea: Memoirs of an Hotel-Keeper for which Greene provided a foreword entitled ‘Advice to a Friend’. Greene was granted access to Laughton’s manuscript in advance and made a number of 136

suggestions about editing and otherwise refining the narrative. A typescript of Greene’s foreword is included in one of the files. Michel Lechat The most extensive collection of Greene’s letters to Lechat is at Austin, Texas, and these are dealt with in the section on that archive. In the smaller Boston collection of fifty-five Greene letters are three not at Austin, two from Greene  – in May 1960, and undated  – and one from his secretary in October 1960. Boston also has a collection of almost fifty letters from Lechat to Greene  – far more than at Austin – from 1958 to 1988. Generally much longer than Greene’s letters, they include Lechat’s reactions to A BurntOut Case, ‘Congo Journal’ and Greene’s later works, and details of the two men’s respective careers and travels. Colonel Jean Leroy Colonel Jean Leroy was the French military governor of the southern province of Ben Tre in Vietnam in the early 1950s, and later a counter-terrorism officer in Algeria. Greene got to know him on his visits to Vietnam, and wrote a foreword to Leroy’s 1955 book Un Homme dans la Rizière, and an introduction to his 1977 Fils de la Rizière. The correspondence at Boston runs from 1954 to 1984, and includes thirteen letters and one telegram from Greene. His letter of April 1954 enclosed two photographs and the greeting, ‘With all good wishes to you in your struggle’, while that of July 1954 stated, ‘You know my sympathy for you in your work’. Letters from 1957, during Leroy’s period in Algeria, include one in January in which Greene wrote

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that he would like to come to Algeria and, of the American film of The Quiet American, he commented that no doubt ‘the Englishman has become the dupe of the Communists’. There are seven more letters from Greene between 1968 and 1984. Leroy’s correspondence often took the form of a Christmas card or postcard, often in French. In July 1976 he asked Greene if he would write a preface to his forthcoming book and be interviewed on camera about Vietnam. Greene wrote ‘Yes to Preface No to film’ on the top of this letter. In May 1977 Greene wrote to tell Leroy that he should delete the reference in his book to Greene accompanying him on a military operation, because he did not do so. Joseph Losey Only two letters at Boston are extra to the material at the British Film Institute – both from Losey to Greene in 1969. In the first, in September, Losey asked to meet Greene. In the second, in October, Losey wrote how Greene’s work had been poorly translated into film, and how he, Losey, might do better. Gabriel García Márquez The file has a booklet from the signing of the Panama Canal Treaty, signed by Márquez and dated 7 September 1977, together with Greene’s invitation card for the ceremony. A letter from Greene in March 1980 congratulated Márquez on his recent published article on Vietnam and commented, ‘I always dreaded to return to Vietnam during the American war, but your article has made me nostalgic for that country and I would like to return to Saigon and Hanoi.’ A letter from Greene’s secretary to Márquez

in January 1990 (Greene himself had flu) asked for information on the US detention of Chuchu. François Mauriac Greene greatly admired the celebrated French author and Nobel Prize winner. However, this file does not contain direct correspondence between the two writers. It consists of a request in 1965 by a M. Droit for a tribute to Mauriac. Greene obliged and the typescript of Greene’s short essay is included in the file. It describes the profound influence Mauriac had on him after he had read Le Noued de Viperes in 1932 which demonstrated the possibility of describing the contemporary world with ‘poetic realism’. Greene stated that after that experience, ‘I turned my back on all I had written before’ adding that Mauriac’s technique had been a source of inspiration ever since. Michael Meyer Michael Meyer was a translator and biographer of Ibsen and Strindberg, a journalist and dramatist who knew a very wide range of writers, actors and directors. His friendship with Greene ran from the late 1940s until Greene’s death, and included a two-month round-theworld trip in 1959–60, with a month’s stay in Tahiti. The archive of letters at Boston runs from 1954 to 1990, and includes forty-three from Greene to Meyer. It is evident that the collection of letters between the two is far from complete, and there are whole years where there is no correspondence – 1955, 1961–4, 1968, 1970, 1976 and 1982–3. The tone of the correspondence is very warm and gossipy. On his side, 137

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Meyer was a good raconteur with a jolly and boisterous style, often keeping Greene up to date on the latest news and commenting on Greene’s latest work. In a letter of August 1960 Meyer said that he had reassured Anita Björk that a detail in Greene’s play The Complaisant Lover had not been put in to hurt her, as some reviewers had suggested. For his part, Greene showed great concern for Björk, and was always keen to hear the latest news. The first Greene letter in the collection, from 1956, concerns the John Gordon Society, which Meyer had joined. Later letters concern the ongoing careers and books of the two men, Greene’s travel plans and sometimes his medical problems, and the latest on Anita Björk. In December 1969, in reply to a letter in which Meyer had put Travels with My Aunt among the top three of his novels, Greene agreed, bracketing it with Brighton Rock and The Power and the Glory. In a letter of November 1972 Greene commented of George Orwell, ‘The only book of his I’ve really liked is Animal Farm’ and added, ‘His rumour-mongering at the time of the blitz I think was really despicable’. In December 1975 Greene thanked Meyer for his kind words in an article in the Daily Telegraph on the Nobel Prize, adding, ‘I am convinced there are more reasons for barring me than you mention there – I think one of them is the fact that I had a close acquaintance with one of their own countrywomen!’ On hearing that Meyer was to do a radio talk on how Greene got a walk-on part in the Truffaut film La Nuit Américaine/Day For Night, Greene wrote in December 1979 that he hoped Meyer would not reveal too much 138

of Greene’s private life, and why he took the part. Greene was not enthusiastic, the following June, about a proposed book of tributes to him, or about Meyer’s suggestions of contributors, particularly William Rees-Mogg, Malcolm Muggeridge, Kenneth Tynan, V. S. Pritchett, John le Carré and Mary McCarthy. Some of these, Greene wrote, were enemies  – ‘but then you have a wonderful nose for my enemies in this list’ – and he added, ‘I don’t know how you can get in touch with André Malraux as one doesn’t know whether he is in heaven or hell.’ In a letter of October 1987 Greene commented on and corrected details in Meyer’s draft autobiography (published in 1989 as Not Prince Hamlet), including long comments on the nature of his relationship with Anita Björk and why he finally decided not to settle in Sweden. A further letter of June 1989 commented on Meyer’s willingness to include details of other people’s private lives, pointed out a few more inaccuracies and telling his friend that Anita Björk was ‘now being pestered by Norman Sherry’. The last Greene letter in the archive, from February 1990, rebuked Meyer for printing without permission letters concerning Björk and their separation – ‘Don’t do it again.’ François Mitterrand The communications between the two men fall within the period of Mitterrand’s Presidency of France. Unsurprisingly, all of the president’s communications are written in French. The first letter, dated April 1983, is certainly the most significant item in the file. It was written by Mitterrand’s secretary and invited

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Greene to meet the president. Although no further information about the topics discussed or the outcome of this meeting are included Greene used the occasion to raise the topic of organized crime in Nice which he campaigned against on behalf of Yvonne Cloetta’s daughter Martine who was married to one of the alleged perpetrators. His exposé, J’Accuse: The Dark Side of Nice, had been published the previous year. The file also contains discussion about a book of photographs, a letter from Mde. Mitterrand and other letters to Greene from Mitterrand including one thanking him for a copy of the novel The Tenth Man which, appropriately, was set in France. Brian Moore Graham Greene’s admiration for the Northern Irish novelist was unequivocal. In a letter written to him in January 1966, he praised Moore’s latest work The Emperor of Ice Cream singling out the novelist’s mastery of realism. He added that he fondly remembered their evening together in a striptease club which had since closed down. In another letter, this time as a referee for a university lectureship application, Greene wrote that Moore’s style of fiction writing had a ‘simplicity and depth only equalled in my generation by Evelyn Waugh’. Malcolm Muggeridge Malcolm Muggeridge was a journalist, author, media personality and satirist who like Greene worked for the SIS/MI6 during the Second World War. The Boston archive includes nine letters from Greene to Muggeridge dating from 1965 to 1980. Muggeridge’s first two letters date from

the war years  – 1942, from Laurenço Marques and 1943, from Algiers  – and many of his later letters reminisce about their time together during the war. Greene’s two letters of March 1967 followed a meeting between the two. In February and March 1969 Greene thanked Muggeridge for the book he had sent, and suggested an Omnibus edition of his novels. In October 1971 Greene gave some detail of his 1930s visit to Estonia and his failed attempt to visit a brothel in Tallinn. He wrote in March 1980 to repeat his determination not to appear on television (Muggeridge had wanted to talk to him on camera) and corrected a detail Muggeridge had misremembered – Greene was recruited into SIS before him, and indeed had suggested Muggeridge for a post in Laurenço Marques. A letter from Geoffrey Barlow in February 1987 about the setting up of a ‘Malcolm Muggeridge Foundation’ has a note in pencil at the top, ‘Graham did not reply! Unbelievable!!’ R.K. Narayan These very considerable volumes of correspondence embrace a lengthy period from 1935 until Greene’s death. However, the first file, which covers the period 1935 to 1957 contains none of Greene’s letters before 1953. They chart attempts by Narayan to get his work published in Europe with Greene’s assistance. Greene also suggested amendments to Narayan’s writings and practical advice, for example regarding contacts with French publishing companies. The next four files which cover the period up to the end of the 1970s demonstrate the lengths to which Greene was prepared to go in order to assist. There 139

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are not only letters of support which extol the virtues of Narayan’s writings but also evidence that Greene played an active part in editing his work as well. When he was a director of Eyre & Spottiswoode in the 1940s, Greene had overseen the reprinting of several of Narayan’s manuscripts. In a letter to A. S. Frere in 1960 he told him, ‘I go over all of his scripts ironing out a few little awkwardnesses of English.’ While Narayan was being published by Methuen, Greene wrote to the publisher in 1957 openly giving his views about the Indian writer’s latest novels and its shortcomings particularly in the use of flashbacks. He even suggested that the publisher considered setting up galley proofs and to permit Greene to work on those. By 1960 Narayan wanted to leave Methuen and Greene used his influence to have him adopted by Heinemann instead. By 1966, following Greene’s own departure to the Bodley Head, he had managed to persuade Max Reinhardt to publish Narayan’s novels as well. Letters in the last two files show Narayan encountering increasing difficulties in finding a publisher in the West. This neglect horrified Greene making him ‘ashamed’ of Bodley Head who had turned down the latest book. He considered R. K. Narayan still to be ‘one of the best novelists now writing in English’. General Manuel Noriega Manuel Noriega was a Panamanian politician and soldier who was military governor of Panama from 1983 to 1989. A typewritten letter dated March 1984 expressed Noriega’s appreciation 140

of Greene’s book Getting to Know the General, about Panama’s Omar Torrijos, and underneath a handwritten note by Noriega expressed Panama’s admiration for Greene. In December 1987 Greene wrote to ‘Mr Diaz’, asking him to approve an enclosed letter he proposed to send to Noriega requesting the pardon and release of Colonel Diaz; a note at the bottom in February 1988 states that Diaz had been tried and released. Victoria Ocampo This correspondence with the Argentinian intellectual, writer and publisher complements the extensive collection at Harvard University. These letters all date from the 1970s and therefore provide a limited perspective on their friendship. The first group concerned Greene’s proposed visit to Chile in 1971 and included his opinion of the celebrated poet Pablo Neruda and his hopes of meeting Salvador Allende. In 1975 Ocampo asked for a copy of Greene’s latest play The Return of A.J. Raffles with a view to translating it into Spanish for publication. Later she found great difficulty in interpreting the very English idiosyncratic language, the cricketing terminology and the lines quoted from Henry Newbolt’s poem ‘Vitai Lampada’ particularly. Greene reassured her that some cricketing references, for example to the ‘Ashes’, could be left out as they served no purpose other than as a joke which to have meaning had to be understood. In October 1975 Greene commented on the forthcoming Royal Shakespeare Company production of Raffles. He was very pleased with the work of the play’s

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director David Jones and with Denholm Elliott and Paul Rogers who were to play Raffles and the Prince of Wales respectively. He noted that other than Ocampo’s Spanish translation, other foreign rights to the play had been purchased in France and in Finland. He mused, ‘What will the Finns make of all the cricket?’ Anthony Palliser Anthony Palliser contacted the author in April 1981 with a tentative proposal to paint his portrait for the National Portrait Gallery (NPG) in London. The two men had known each other slightly before. Although Greene showed some initial reticence he agreed and Palliser’s visit to Antibes later that year was successful. In August 1983, Greene wrote that his sister Elisabeth had seen and had liked Palliser’s portrait of him in the NPG. Later, through his contacts in the wine trade, Palliser was able to advise Greene about investing some of his royalties from Penguin Books in fine wine. In return, Greene gave the young artist a copy of his appreciation of Palliser entitled ‘A Personal Impression’. He also advised on a play script Palliser’s brother had written of The Quiet American and was then instrumental in contacting the artistic director of the Brighton Festival with a view to producing the play. In September 1983 Greene made a significant passing remark about his campaign against the Mafia in the south of France telling Palliser, ‘Since I saw Mitterrand we have had a few little successes in the Guy affair.’ Mervyn and Maeve Peake Although Mervyn Peake’s name is on the title of this file there are no letters from

him; they are predominantly between Greene and his wife Maeve. There are some letters Greene wrote to his own brothers Raymond and Hugh and also some with three other correspondents seeking information about Peake. This correspondence presents a prime example of the extent of Graham Greene’s generosity and willingness to assist in very practical ways those he respected or counted as friends. Greene had been closely involved with the publishing of the first of Peake’s Gormenghast books, Titus Groan, in 1946 while working for Eyre & Spottiswoode. He had first met the writer and artist in 1943. A letter from Greene to Hugh in June 1959 gave an account of a telephone call he had received from Maeve. She had been in a highly agitated state about her son’s education which had been ‘mucked up’ over several years by Mervyn’s deteriorating state of health which had in turn affected the household. Although highly intelligent, the son had found difficulty in finding employment. Greene told her that a career in films, which the boy favoured, was very difficult to achieve and suggested television as an alternative. Hugh Greene was by then about to become Director-General of the Corporation and subsequently made arrangements to help at his brother’s behest. Two years later, Maeve approached the writer with an enquiry about filming Mervyn’s two Titus books; the second one, Titus Alone, had been published in 1959. She explained that the family was short of money and that Mervyn had been unable to work for the past six years, apart from a little painting, owing to his progressive 141

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illness thought to be Parkinson’s Disease. Maeve wondered if Carol Reed might be interested. Greene replied honestly and unsentimentally that he could not imagine the books being filmed, that most directors were interested in making ‘epics’, that such a project would be outside Carol Reed’s ‘limited sphere of interest’ and that Mervyn’s works might appeal more to a French director than a British one. He ended, ‘I’m very sorry to write so bluntly, but what are the good of illusions?’ In May 1965 Greene wrote to his physician brother Raymond, again on behalf of the Peakes. He described Mervyn’s medical condition, how following a brain operation he had developed encephalitis, ‘For the last eight years he has been completely incapable. He doesn’t speak, he dribbles saliva and walks backwards.’ By the next month Raymond had used this influence to find a suitable National Health Service hospital for Mervyn through his personal acquaintance with the hospital superintendent. Sadly, Peake died three years later. In 1974 Greene assisted a researcher with his memories of working with Peake prior to the publication of Titus Groan. He wrote recalling a time when he had advised him about omitting ‘a certain rather facile sentimentality when he was dealing with his heroine’ and also about the issue of illustrating the novel with Peake’s own drawings. He enclosed a copy of a letter he wrote to Peake in which he was brutally honest about the unevenness of his writings. It is considered that the advice given by Greene proved to be a turning point in Peake’s career. 142

PEN Club PEN is a worldwide association of writers which promotes friendship and intellectual co-operation among writers, fights for freedom of expression and defends the human rights of writers. In the Boston files are thirty-three letters from Greene and two from his secretary, from 1966 to 1987. In March 1966 Greene wrote that he was too busy to join the Magyar PEN Club, but separately accepted joint chairmanship, along with Miller, Mauriac, Silone and Grass, of an international writers’ committee on Sinyavsky and Daniel, dissident writers arrested in 1965 for anti-Soviet activities. A series of letters to and from Greene on this issue followed in 1966, 1967 and 1968, with Greene emphasizing the need to keep up the pressure on the Soviet authorities. In July 1966 he refused an invitation from the Secretary of the Soviet Union of Writers to come to Baku, because of the continued imprisonment of Sinyavsky. In October 1967 he wrote to Fidel Castro (‘Dear Fidel’) asking for his sympathy and support in holding a PEN conference in Havana in December 1968, when, Greene hoped, he would be able to visit Cuba for a seventh time. A public protest meeting in London was proposed in support of Soviet and Greek writers in prison, and in March 1968 Greene wrote that he would attend, but was reluctant to speak; a card advertising the meeting on 28 March is in the file, and lists Greene as one of the speakers along with Cecil Day-Lewis, Günther Grass, Harold Pinter and others. In the following years Greene signed statements protesting also at the treatment of Russian writers Alexander

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Solzhenitsyn and Andre Amalrik, and in October 1969 in a letter to David Carver, General Secretary of PEN, he wrote critically of Arthur Miller in his stance on such issues. From 1980 to 1982 Greene had an exchange of letters concerning the case of imprisoned Argentinian economist Horacio Caifardini. In April and August 1981 he wrote about his threat to resign from Argentine PEN in protest at its lack of action in the Caifardini case. Later that year Caifardini was moved to a more convenient prison, and Greene was thanked for helping to bring this about. Caifardini was finally released in November 1982, and wrote a long letter to Greene about Argentina’s rights to the Malvinas (Falkland Islands). Greene replied, ‘The Malvinas affair was a most stupid and unnecessary one and I am sure that if your country returns to democracy friendly negotiations would be possible again.’ Greene continued during 1983 to be concerned about Argentinian writers – in June he asked Argentine PEN if he could have a list of imprisoned and missing writers, and what punishments had been handed out. Also in the archive are draft copies of another letter to Fidel Castro, from February 1983, asking for an amnesty for the writers Cuadra Landrove and Jorge Arango. Kim Philby Items relating to Kim Philby from 1966 to 1977 include fourteen letters from Greene, most of them from 1968. They concern publishing matters, including the book Philby’s former wife Eleanor wrote on him, but chiefly Greene’s own introduction to Philby’s book My Silent

War. In a letter to publishers Granada in April 1968, Greene corrected and suggested amendments to the text of Philby’s book, which he had read in proof. Later that year, in December, Greene referred to ‘my not very serious introduction to Philby’s book’. The Sunday Times Insight team produced a book on Philby, and in a letter to Leonard Russell at the newspaper in October 1967, Greene stated that the reason why he was not able to write an introduction to the book was ‘general laziness and other work’ and corrected two points  – that in his days in SIS he did not bungle getting an agent into the Azores, and that his resignation from the SIS ‘over a piece of office jobbery’ should not be described as ‘Jansenist’ but a matter of ‘perfectly ordinary conscience’. A copy of Greene’s October 1968 Observer review of The Sunday Times book Philby: The Spy Who Betrayed a Generation, by Page, Leitch and Knightley and of E. H. Cookridge’s The Third Man are in the file. There are further items relating to Kim Philby from 1977 to 1994, including some newspaper clippings. Ten of the items are letters from Greene, including one from January 1978 to Maurice Oldfield containing news of Philby which Greene had obtained from László Róbert. Of the ten, five are copies of Greene’s letters to Philby: four (from April 1978, October 1985, September 1987 and October 1987) are also in the archive at Georgetown, one  – sent to Rufa Philby in October 1989  – is not. There are also six photocopied letters from Philby to Greene: four (those of January 1979, January 1980, June 1980 143

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and October 1984) are in the Georgetown archive, but two are not. One, a long letter dated April 1978, has comments on The Human Factor – to which Greene’s letter of May (in both the Georgetown and the Boston archive) is a reply – and said that he had been approached by Professor Sherry for reminiscences of Greene, but that he had only sent him a few generalities. A shorter letter in June replied to Greene’s of May, stating he couldn’t meet Greene in Hungary that year, and with comments on Leonard Mosley and Pritchett. There is also a letter which gives an intriguing insight into Greene’s correspondence with Philby and its use by the Intelligence Services. The letter is from ‘R’ to ‘My dear Dickie’ (presumably Sir Dick Franks, chief of SIS/MI6 in 1980). It is dated January 1980 and enclosed copies of the postcard Philby sent to Greene from Cuba in January 1979 and of Philby’s letter of January 1980, together with details of the Greene letter of November 1979 in which Iran and Salt 2 had been discussed. The writer ‘R’ noted that Philby’s letter of January had introduced Afghanistan into the discussion, and speculated whether this was a deliberate opening up of a dialogue between the KGB and the SIS, or a gambit in a game of deception – given, the writer pointed out, that Philby must assume that Greene passed his letters on. Publishing (General) Three letters from Greene, from 1961 to 1990, cover issues like royalties, stocks, the blurb on an edition of The Third Man and a paperback published by Mandarin. 144

Michael Richey The letters between Greene and Michael Richey are less extensive than the collection at Georgetown, running to thirty-three items from 1979  – around forty years after the beginning of their friendship  – to 1991. Of these, nineteen are original Richey letters, and fourteen are copies of Greene’s letters. The letters from Richey are not in the Georgetown archive. The Greene letters are not as complete as those for this period at Georgetown  – missing are those for January and February 1981, May 1982 and January 1987 – but do include one not at Georgetown, that for October 1989; in this, in reply to a complaint that Norman Sherry had purloined a photograph from Richey, Greene commented, ‘I am not surprised about Norman Sherry. His ego is extreme.’ Zoë Richmond Zoë was the wife of Kenneth Richmond, who had psychoanalysed Greene in 1921. Her letter of November 1961 was their first contact in forty years. It begins the correspondence held at Boston, which runs to 1986  – when Richmond was ninetyeight years old. There are five letters from Greene and six from Richmond, and the series is evidently incomplete. Greene’s letter of November 1961 states, ‘My stay with you and Kenneth remain among my happiest memories’, and in February 1986 he wrote, ‘You were of great help to me in those far off days, quite as much help if not more I think, than Kenneth.’ They discussed dreams – Greene thanked her for sending him a photocopy of Tolstoy’s dream, and said that he would probably sell his own volumes of dreams

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to Georgetown University. Richmond was by now nearly blind, and Greene told her to look after herself. Robert Louis Stevenson These substantial series of files relate to an abandoned project to write a biography of Greene’s distant cousin, R. L. Stevenson. Although he commenced his research three years before the centenary of the Scottish writer’s birth, Greene was clear almost from the outset that his book would not be aimed to coincide with that event as other work commitments took priority. After publicly announcing his intentions and personally writing to both institutions and individuals with connections to Stevenson, Greene received a substantial response. He found several other people engaged in similar biographical projects and even one who questioned whether there must be a new life of the writer, to which Greene replied testily, ‘In my view there has never been a real life of RLS!’ It was his intention both to draw on new information which had emerged about his relation’s life and work and also to highlight some hitherto unpublished writings. By late 1949, realizing that there was serious competition from an American biographer in particular, Greene seemed to adopt a more circumspect approach suggesting in one letter that he would await publication of J. C. Furnas’s book before judging whether there was scope for another biography. To another correspondent, he was more frank, ‘If his book is good and adequate there will be no point in writing one myself.’ Although he abandoned the biography, his interest in Stevenson remained. Later

material includes discussion about some missing letters and also the purchase by Greene of a letter written by Stevenson at a Sotheby’s auction in the 1970s. Barbara Strachwitz Barbara Countess Strachwitz was Graham Greene’s cousin who accompanied him on his expedition to Liberia in early 1935 after which he wrote Journey Without Maps. The correspondence, covering the period 1945–90 although spasmodic is invariably tender in tone on both sides. Several references are made to family affairs and regret that they seemed unable to meet because of Greene’s incessant travelling. Omar Torrijos This file includes a cable from General Torrijos formally inviting Greene to Panama in 1977 and stating that he was looking forward to meeting him. Greene’s handwritten reply suggested that August might be a good time for his visit. The remaining items in the file relate to the period after Torrijos’ death in a plane crash in 1981. A letter from the president’s nephew in March 1987 gave details of the state of Panama postTorrijos and the demise of some of his uncle’s socialist projects. References were made to the way in which earnings from the Panama Canal accession had gone to a few influential individuals at the expense of helping the poor. Greene’s replies included remarks about the dubious circumstances under which Torrijos was killed. The writer’s letter to Yorkshire Television in 1989, who were preparing a programme about Torrijos’ death, repeated the suspicion of a ‘coverup’ based on the fact that the Canadian 145

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company who had built the aircraft had been denied access to the crash site. US Freedom of Information Act Greene wrote to Michael Korda in March 1981 asking for his help in getting his FBI dossier, and a rapid exchange of letters eventually produced an FBI document of May 1982 stating that ninety-eight pages of his dossier had been reviewed, twentyseven withheld and the rest enclosed. In a letter in June, Greene said the latest FBI material was ‘magnificent. What a lot of money I have cost them’. He added that it would now give him material for an amusing article. A copy of the Spectator article of 7 April 1984 is in the file, as is a note stating that the original FBI documents had been sold at Sotheby’s in July 1984 for £1,760. A CIA letter of November 1988 stated that they had received Greene’s request for information and could neither confirm nor deny the existence of such files. Catherine Walston These original letters are from December 1975, December 1976, two from October 1977, and May 1978, the year of Walston’s death. She gave him news of her deteriorating health, reported that she was now a television addict and asked for recommendations of books to read. She wrote about friends they know and knew, and thanked him for all he had done for her. Her letter of 18 October 1977 looked forward to seeing him next month. The letter of May 1978 is handwritten, and Greene has written ‘C’s last letter’ at the top; she asked about his summer trips to Spain and Portugal, thanked him for his latest book, reminisced about their time together on Capri, at Ian Fleming’s house 146

and in Cambodia and again emphasized how much he had meant to her. The file also has a postcard of the church in Thriplow, a service sheet for Catherine Walston’s funeral there on 7 September 1978, and a letter two days later from Marie Biche, who attended the funeral. Harry Walston Greene wrote to Catherine Walston’s widower Harry after her death in a letter which has not survived. Harry’s handwritten reply, in September 1978, is in the archive: he thanked Greene for his letter, and said that although Greene had caused pain, he should not be remorseful  – he had given Catherine so much. There then followed an exchange of letters about how Harry should dispose of Catherine’s letters and other Greene manuscripts, in the absence of a will. Greene wrote in November that Catherine’s stated wish to let the material go to an academic body should be respected, and suggested the university at Austin, Texas, as they already had a large collection of Greene material. Much later, in August 1989, Greene suggested the letters go to Georgetown instead – a reliable and Catholic university – as Texas ‘have not proved very reliable recently over questions to do with my biography’. Negotiations with Georgetown were opened by Harry Walston, and there were also exchanges about Greene’s early unpublished novel The Episode: Greene first suggested selling the manuscript and giving the money to a charity, then in February 1990 he wrote that he would like the manuscript himself, ‘Not for publication but for sentimental interest in a book which I have completely

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forgotten’. Walston’s reply to this, in March, is the last letter in the file. James Walston James Walston was the son of Harry and Catherine. Seventeen items in the file from 1988 to 1991 include three letters from Greene and two from Greene’s niece and personal secretary Amanda Saunders. There is talk in the letters about books and about world issues, and a desire by Walston to meet Greene for a talk. They never met. Oliver Walston Oliver Walston was the second son of Catherine and Harry. In the first of three letters, in July 1980, Greene paid tribute to Oliver’s mother but felt he would rather meet for a talk than put anything on paper about her, as Oliver had asked. In the late 1980s Oliver and Greene discussed where Catherine’s letters and the manuscript of The Episode should go. Greene’s letter dated August 1989, which was never sent, asked whether an offer of £10,000 for the two might secure them from his father. The file also contains an exchange of letters from 1993 with Greene’s son Francis about Oliver’s idea of writing a book about his mother and having access to the material at Georgetown to help in the task. Auberon Waugh The correspondence between Greene and the journalist and eldest son of his great friend Evelyn Waugh spans nearly thirty years. ‘Bron’ Waugh’s letters are invariably witty and often audacious; Greene’s replies are mostly avuncular but occasionally sharply critical where he thinks the younger man has erred. However, even in the midst

of misunderstandings and acrimony, there is shared affection and humour is never far away. Letters exchanged in the 1960s demonstrated much mutual respect although tensions emerged from the outcome of an interview Waugh conducted with the author in 1968. Greene lent his support for an open letter to The Times about British attitudes to the Biafran refugee crisis which Waugh condemned as the worst kind of postcolonialism. A succession of letters in 1976 referred to the publication of Evelyn Waugh’s diaries. Confusion over the choice of editor was cleared when Greene stated that he had never offered to undertake the task. He admitted to be ‘wickedly enjoying’ reading the diaries and wished that the Bodley Head had been responsible for publication. The two men delighted in a review of the diaries which appeared in Motor Sport magazine and in what they concluded was a spoof letter in the New Statesman about a commission to write an account entitled ‘Evelyn Waugh – The Gay Years’. They speculated that it might have originated from Greene’s friend John Sutro. In 1982 Waugh asked Greene if he could interview him for the Sunday Telegraph Magazine ahead of the publication of Monsignor Quixote. After agreement and subsequent publication, Greene was sharply critical of Waugh’s article, citing ten factual errors. Auberon Waugh excused himself due to pressure of work and later, mischievously, offered to write Greene’s biography at a rate of ten errors per page. The following year Greene took exception to Waugh’s review of Marie147

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Françoise Allain’s book-length series of interviews with the author, The Other Man: Conversations with Graham Greene and particularly the implication that a sexual tension must have existed between the distinguished elderly writer and the attractive interviewer who was forty years his junior. Greene accused Waugh of becoming a ‘hack journalist’. Despite Bron’s apology, Greene was still ‘smarting’ in his reply and pointed out an error of fact in Waugh’s letter. Tensions erupted again five years later in a final exchange when Greene thought Waugh’s comment about a ‘bibulous priest’ referred to his friend Father Leopoldo Durán. When Waugh pleaded ignorance of Durán’s drinking habits, it was Greene’s turn to apologize but in what appeared to be an effort to have the last word he questioned whether Bron, as editor of the Literary Review, was being sexist by having ‘Women Writers’ as a separate listing in the magazine. Trevor Wilson Fellow Catholic Trevor Wilson met Greene at the SIS headquarters at St Albans in 1943, and was the British Consul in Hanoi in 1951 when Greene first visited Vietnam. The extensive files of their correspondence run from 1951 to 1984, including eighty-four letters from Greene or occasionally his secretary. Wilson’s first letter, written from the British Consulate in Hanoi in March 1951, was to ‘My dear Graham’ and referred to two previous letters Greene had written. In the correspondence, Catholic literature was exchanged, the situation in Vietnam assessed and 148

arrangements made for Greene to come out to Vietnam. Greene often met Wilson in Vietnam, and later in London and in Malaya, when Wilson was moved there. Greene wrote a reference for Wilson for the Colonial Service. In a letter of July 1954, from Malaya, Wilson expressed the desire to return to represent Britain in Vietnam, and asked Greene to put in a good word for him in the right quarter. Wilson continued to move about. In 1955, when Wilson was in Thailand, there was still much in the correspondence about Vietnam, and Cambodia; later his letters came from Kuala Lumpur and from Vientiane. In the early 1960s there was comment that they seemed to keep missing meeting each other on their travels. Some of Greene’s letters concerned his desire to have Wilson buy some shirts for him in the Far East, but there were more serious concerns too. In a letter of October 1967 Greene asked for news of his son Francis from Laos, where Wilson was Cultural Attaché at the British Embassy. In October 1970 Greene’s letter was still dominated by matters of the Far East – the memoirs of General Salan, an invitation from Playboy for Greene to return to Indo-China to write an article for them and Colonel Leroy’s intention to go out to Singapore. In October 1976 Greene reported that he had read Leroy’s ‘rather good and amusing’ book on the Vietnam War. The very friendly letters continued after Wilson’s retirement and as his health declined – he reported that he had had two strokes, and one of his last letters, in October 1980, was written in shaky red block capitals following a further stroke.

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Father Ralph Wright Father Ralph Wright first contacted the writer in 1962 when he was a novitiate Benedictine monk at Ampleforth Abbey in North Yorkshire. Wright had read A Burnt-Out Case and was profoundly affected by the book. His unsolicited letter impressed Greene with its thoughtfulness and perception. This prompted an intermittent correspondence which lasted practically thirty years. Father Wright tended to send Greene his opinions on each new novel as it was published. He also wrote about his own career which, following ordination, had taken him to France and then to the United States where he had lectured in a theological college. Greene’s replies were invariably warm and cordial; he also commented critically when Wright sent copies of his poetry. Later, the priest paid visits to France and met Greene at home in Antibes. Sub-Series B: Family Lucy Caroline Bourget This small number of letters, dated 1956, concerned his daughter’s forthcoming emigration to Canada. Greene was concerned with the practical arrangements. Caroline hoped that she would be able to see her father before she left. Elisabeth Dennys The correspondence between brother and sister covers the years 1959–76. Greene showed his willingness to lend support to his sister’s family. In June 1961 Elisabeth asked her brother to put in a good word to help her husband Rodney get a job. However he told her he was unable to assist his niece Amanda to find work in

the south of France because he lacked suitable contacts. Later in the decade he gave money for the children’s education. Elisabeth replied that she and Rodney were overwhelmed by her brother’s generosity. However, Elisabeth complained on more than one occasion that the family never saw Graham because he was always travelling. Francis Greene This large collection of correspondence might best be summed up as reflecting a normal parent–child relationship through the various stages of childhood, adolescence, education and adulthood. The first file covers Francis’ time as a pupil first at Berkhamsted School and later at Ampleforth College. His letters were full of childhood enthusiasms and his father invariably replied with encouragement and interest. The following two batches of letters date from the 1950s and include Francis’ years at Oxford University. There were references made to their visit together to Russia in 1957, to arrangements for Francis’ twenty-first birthday party at the Café Royal, including a letter to Francis’ mother Vivien, and to the decision by Greene’s son to stop referring to his father as ‘Daddy’ and to use ‘Graham’ instead. It is ironic that several of Greene’s letters gently complain that he seldom heard from his son and asked for news about what he had been doing, particularly after Francis had left Oxford and had embarked on his career. This echoed both family and acquaintances who made similar observations about Graham’s dismal letter-writing record. In several of Greene’s letters he reported on 149

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his own work. In 1958, for example, he told Francis that he was revising his play The Potting Shed for about the fifth time and was now more or less back where he started. The ending for the UK production, he reported, was quite different from the US version. In the same letter he asked for news about Francis’ future plans. In another, he wanted to be kept abreast of his son’s frequent changes of address. In 1968 Greene showed typical parental concern about his son flying to Antibes, presumably in a light aircraft. He also warned him to be careful of ‘the bombardments’ while in Israel. A crisis occurred in October 1967 when there was no news from Francis who was in Laos on an assignment as a journalist. In an effort to obtain information, Greene enlisted the help of Trevor Wilson, his old friend from his time in Vietnam. Two weeks later Wilson was able to reassure the anxious father that his son was well and Greene passed on the information to Vivien. However, in December Wilson reported that Francis had been seriously ill with a tropical disease and the doctor was concerned that there could be complications which might affect his chest or even his brain. Wilson stated that Francis had requested that the information should be passed to his father alone and that Vivien should not be informed at that stage. In March the following year, Francis was arrested for a short while by the Laotian Army. Trevor Wilson, though confident about his release, added that Francis had been strongly advised to leave South East Asia in order to recuperate fully. There were further letters about family matters. Greene could not attend Francis’ 150

wedding in 1971 because he was away at the time but Francis wrote to him in gratitude for a very large wedding cheque. There is an inexplicable gap in the correspondence between 1974 and 1985 but in the last letter in these files Greene stated that he hoped to see Francis again soon. Hugh Greene A very extensive archive runs from 1947 to 1987, with much more frequent written contact between the brothers from the early 1970s. There are around 180 letters from Graham to Hugh, a slightly larger number from Hugh to Graham, and some duplicate those letters in the Georgetown archive. Hugh’s letters are generally handwritten and longer, Greene’s usually typed. They are very friendly and informal letters, covering a wide range of matters. There was lots of talk about books, book catalogues and book hunting, and they met from time to time. Hugh sent Graham a copy of his 1960 speeches ‘The BBC as a Public Service’, while in February 1965 Graham congratulated Hugh on a superb Not Only . . . But Also television programme, having laughed aloud at ‘the leaping nuns of Norwich’. The brothers corresponded in the early 1970s about the Shades of Greene television adaptations of Graham’s short stories, in which both brothers had a hand, and in 1983 Hugh suggested a book by Graham on ‘The Sausages of England’. Raymond Greene Raymond Greene, a medical doctor and mountaineer, was an elder brother of Graham. The first of five letters from Graham, in 1964, replied to Raymond’s comments on his play Carving a Statue, claiming he had not in fact intended any symbolism, that the main character was

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based on Benjamin Robert Haydon, ’the absurd religious artist of the 19th century’. The letter also commented on the money Greene was paying towards the education of the children of his sister Elisabeth. In 1972 there was an exchange of letters and a meeting of the brothers as Graham sought Raymond’s medical advice on a matter relating to his forthcoming novel, The Honorary Consul. Vivien Greene In a single letter from March (1946? 1947?) Greene reassured his wife about a river trip by boat for the children. Sub-Series C: Fan Mail This very large sub-section contains correspondence sent to Greene by members of the general public.

Series II: Literary Works Sub-Series A: Novels, Plays, Films and Collected Essays This sub-series mostly consists of multiple files relating to some of Graham Greene’s major writings and to films made of his works. The amount of material varies quite considerably in scope and coverage. It can refer to such issues as the genesis of the work, its reception on publication, subsequent editions and the usually protracted negotiations leading to film adaptations. The majority of the material is in the form of original manuscript and typescript correspondence sent to the writer and carbon copies of letters written by Greene. The sub-series is arranged in alphabetical order. Brighton Rock There are letters concerning various dramatized versions of the novel, from the

1950s to the 1980s, and correspondence concerning three proposed musical versions. On one of the latter, in 1963/4 Wolf Mankowitz was involved in a possible project, with John Barry mentioned. As part of the discussion on the project, Greene asserted that Terence Rattigan had not worked with him on the film script of the novel. By 1966, Joseph Losey was also being mentioned for involvement in the musical version, but in November 1967 came news that the whole project had been dropped. Correspondence on the development of the 1947 film includes a letter from Greene to John Boulting in September 1946 containing a long critique of Rattigan’s outline treatment which he considered to be ‘a good skeleton to work on’. There are details of Greene’s own work on the screenplay, the censor’s comments and the Boultings’ responses and comments on the need to credit Rattigan. In December 1947 Greene wrote to John Boulting stating that he was delighted with the film, particularly Attenborough’s performance, the art direction and the direction: ‘this is the first time I have seen one of my own books on the screen with any real pleasure.’ Greene also wrote to the Daily Mirror in January 1948 to reject their hostile review of the film. A Burnt-Out Case There is an extensive file of letters, almost all from the period 1958 to 1962. Some are between Greene and Michel Lechat concerning leprosy and Greene’s visit to the Congo to research the novel. All of Greene’s letters here, and all but two of Lechat’s (from January 1959 and September 1960), are in the files 151

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at Georgetown or elsewhere at Boston. From early 1961 there is an exchange of letters between Greene and Dr R. G. Cochrane, a leprosy expert highly critical of the disease as covered in the novel. Other letters respond to A Burnt-Out Case, including its medical details. There is also in effect Greene’s ‘leper file’ with material collected as he researched the subject. It includes a booklet on leprosy, Greene’s ‘African Addresses 1959’, an address at a leprosy conference in Tokyo in 1958, Time magazine’s review of the novel and Michel Lechat’s draft letter in response. The Captain and the Enemy Letters include some publishers’ congratulations and enthusiasm expressed to Greene, who in turn was rather lukewarm towards the book. There is a section of the ‘Apologia’ for the book dictated by Greene in December 1978, as he resumed writing on the novel, and a letter from Gerald Pollinger to Greene in March 1988 stating that he understood that Greene wished to drop the ‘Apologia’ from the published novel. A letter from Greene to Max Reinhardt in February 1988 declared that ‘the date of the character’s birth worried me a lot and the date when it ends which has to be around 1978 or 77’. This affects the very first sentence of the novel. There are various versions of the completed novel, including an uncorrected proof manuscript, an apparently later proof manuscript, a final draft, author’s proofs dated April 1988 and revised proofs dated June 1988. These versions run to 192 typed pages, with corrections and changes by Greene, many of which 152

represent changes of mind. The first sentence has the age ‘twenty-eight’ and ‘twenty-third’ in different versions before ‘twenty-second’ is settled on. The ending is altered  – the proof manuscript has extensive changes to pages 183 and 191. Greene clearly changed his mind about the ending of the novel at the last minute, and posted these changes to Max Reinhardt  – the envelope is in the file. At the end of Part III of the novel, where the story changes from a first-person to a third-person narrative, Greene inserted a horizontal line at the author’s proofs stage. The uncorrected proof manuscript has the ‘Apologia’, but with ‘Omit this in published book’ written at the top. Greene also amended the sentence on prayer, written about 16 December 1978, to read ‘I prayed last night without conviction that I could work again.’ The final draft has a dedication in Greene’s hand to ‘Y’. There is material from 1988–9 related to two offers for film rights for the novel, one possibly involving Christopher Neame as director. The film was never made. Carving a Statue Carving a Statue was Greene’s least popular play with audiences and productions both in the United Kingdom and the United States closed prematurely. It has never been revived. The first of four files provides the reader with an historical account of Greene’s personal involvement with this play over nearly twenty years; the other three concentrate on the first West End production. The sequence of material is not arranged chronologically throughout. According to the author, Carving a Statue is a simple story of a very weak

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artist’s inflated ego. The difficulty of visually conveying this concept on stage in the form of a huge, unfinished, artistically inept statue proved impossible. Moreover, the actors, Ralph Richardson in particular and the director Peter Wood to a lesser extent, struggled to reconcile their own interpretations of the script, which was intended to be a farce with some tragic elements, with those of the playwright. Unsurprisingly this mismatch induced tensions backstage, the play received a poor press when premiered and closed in less than two months after losing money. Letters from Greene to Jan Van Loewen and to Binkie Beaumont the producer show that less than two months before the opening night significant changes were being made to the script, particularly to the beginning and ending of scenes. Even during the play’s short run, Wood made increasingly frantic efforts to introduce script changes which he had to convey to Greene by letter as the playwright had retreated to France by then. In early October Greene wrote to Beaumont and to his agent that he disapproved of the changes and wanted to return the script to its original form. His letter to Van Loewen, while conceding that Peter Wood was ‘an extremely good director’, listed no fewer than five major faults with the production. An effort was made in 1967–8 to revive the play in an off-Broadway production. Letters from Greene to Monica McCall and to the chosen director showed how, despite the setback four years previously, he had maintained his enthusiasm for a play he preferred ‘to any other of my plays’. The US production flopped too leaving Greene to write to the director

resignedly in May 1968, ‘I am quite used to failure with this particular play.’ Relevant press notices, receipts from weekly box-office takings and ephemera in the form of programmes and seating plans for Greene’s family and friends are included in this collection. The Collected Edition An exchange of letters from 1963 between Greene and Trevor Wilson concerns an introduction to The Quiet American, in which Wilson is mentioned; Greene wrote: ‘This is one of a series of introductions I am writing for all my books to appear in the French and German uniform editions. Eventually however I plan to publish the whole collection in one volume in English.’ There is a typed list of fifteen such introductions to Greene’s books, dated between October 1962 and September 1963. There are corrections for the UK Collected Edition volumes published between 1970 and 1982, some of them sparked by readers’ letters, plus a series of copies of some of the introductions. In a letter of May 1977, Greene’s cousin Barbara Greene, Countess Strachwitz, wrote that she had no objection to the new introduction to Journey Without Maps, adding how she had simply let Graham organize everything on their trek across Liberia in 1935. Collected Essays Essentially, Collected Essays is an updated selection of the author’s numerous non-fiction writings which were first published some fourteen years previously. The material includes correspondence, clippings from reviews of the book and manuscript corrections. It 153

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had been originally planned to reuse the title The Lost Childhood for this volume but Greene, in a letter to Max Reinhardt, argued that they were in danger of losing sales to libraries etc. which already held copies of the 1951 book of essays which carried the same name. The Comedians There is extensive correspondence on the novel, including detailed analysis of privacy and libel issues, corrections and readers’ letters. Two typed notes, apparently by Greene, are headed ‘The Dissemblers’ and ‘The Comedians’. Letters from 1965 to 1968 concern the film version of the book, for which Greene wrote the screenplay. One, from June 1965, gave ‘A Man of Extremes’ as Greene’s first title for the work. In December that year, Greene sent the director Peter Glenville maps, articles on voodoo, and details of locations and people in Haiti. There are notes in Greene’s hand for locations in Port-auPrince and ‘Outside’. Letters concerning the film script included amendments and corrections. In January 1967 letters gave Greene news of the progress of the filming. Later there was news of Haitian government protests at the film. The Complaisant Lover The considerable collection of material relating to the play The Complaisant Lover is not presented in chronological order. The first file covers the years 1958–65 and includes correspondence written prior to the British premiere in June 1959. There is discussion about the unusually worded title, about the timing of the publication of the script and about the anticipated US production. 154

The second file dated June to December 1959 provides an account of the very popular reception the play enjoyed in its first six months in the West End. There is much praise for Greene and for the brilliance of the cast. Greene showed reservations about taking the play to New York. He told Irene Selznick, the American producer, that what was successful in one country did not automatically transfer satisfactorily to another continent. However, Greene became heavily involved in discussions about a suitable director and the casting for America, appearing to relish indulging in the inevitable gossip. He admitted to having ‘always detested’ Flora Robson, found John Mills’ ‘middle-aged boyishness revolting’ and queried whether ‘Larry’ [Olivier] was well known enough in the States. The third file in the series is out of sequence chronologically and provides more detail about the nine months prior to the play’s opening, that is September 1958 to June 1959. In a letter written in September 1958 Greene told his theatrical agent that he was more than halfway through writing ‘a somewhat different play from the others’. Other matters discussed included French performance rights, the possibility of an off-Broadway production and finding the right director and cast. Initially Greene was concerned about John Gielgud as director, finding him to be ‘a bit of a cold fish’ who might struggle with the strongly heterosexual themes. Greene continued to make alterations to the script as late as April 1959. He was anxious about the authenticity of the Dutch language dialogue in Act 1,

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Scene II. A friend of Jan Van Loewen had provided the translation and Greene was worried that it would not reflect everyday, idiomatic language. He was also present during rehearsals and in one letter voiced concerns about the lack of rehearsal time. There are other examples of what might be construed as unnecessary meddling by the playwright in the weeks prior to the play’s premiere. Later files cover the years 1960 to 1967 and, unlike the success and general sense of achievement derived from the London production, mainly chart disappointments, squabbles and disagreements over various matters. The US production which opened in November 1961 was not successful. After he had seen the production Greene wrote to Irene Selznick objecting to the changes that had been made which ‘diluted’ the text. Moreover, he felt the leading actors needed to ‘pull themselves together’. There was a series of arguments concerning the French version of the play and anger on the part of Greene in 1960 when Independent Television refused to broadcast The Complaisant Lover unless alterations were made on grounds of morality. The BBC promised to screen it without making what Greene described in a letter to Van Loewen as ‘absurd cuts’ to the text. The last two files include a scrapbook of newspaper cuttings, programmes and production photographs. Doctor Fischer of Geneva Letters on the novel cover a range of matters. In June 1979 Greene wrote to Max Reinhardt to say that at 33,000

words the story was now publishable. There were enthusiastic reactions to the novel and interest from Joseph Losey and Tom Stoppard in doing a film version. Extensive correspondence gives a detailed insight into the development of what was eventually a BBC television film, broadcast in 1984. Consolidated Productions secured the rights and options on a film, and extensive suggestions about personnel followed. Greene suggested Peter Duffell as director, mentioned Alec Guinness and Laurence Olivier as possible Dr Fischers and suggested Martine, daughter of Yvonne Cloetta for the role of Anna-Luise. John Mortimer wrote a screenplay, then Richard Broke produced another script, which Greene called ‘a marvellous job’. Joseph Losey showed renewed interest in the project in March 1983. After much delay and postponement, the film got under way, and in December 1983 Greene wrote of his enthusiasm for what he had seen of the filming so far. The End of the Affair Correspondence from 1976 to 1980 includes three moving letters from women readers disturbed by Greene’s book, and a letter from Greene of November 1976 to another woman troubled by it. England Made Me Correspondence from 1958 to 1973 relates to possible film versions of the novel. A proposed Anglo-Swedish production in 1959 had Greene suggesting perhaps Sjöberg as director. In August 1971 Desmond Cory (real name Shaun McCarthy) wrote to Greene 155

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about the film he was writing with Peter Duffell. Duffell wrote to Greene in October 1973 with the film eventually made, explaining the switch of the story to Germany. Greene had a private showing of the film, and wrote with his reactions: he had some criticisms, but was ‘pleased enough’ and he thanked Duffell ‘for staying so faithfully close to my story’. There is also an undated thirteen-page film treatment. Essais Catholiques As a collection, Essais Catholiques was never published in an English language edition. In 1986, the American vicepresident of Macmillan Publishing, Charles Scribner III, wrote to Greene that he had heard via his niece Louise Dennys that the writer was considering publishing the collection again, with a couple of new essays included. Greene replied that he no longer agreed with what he had written in two of the original essays and would prefer not to see the others ‘resuscitated’. For Whom the Bell Chimes and Yes and No For Whom the Bell Chimes and Yes and No premiered in Leicester in 1980 and proved to be the last new plays by Greene performed in his lifetime. Yes and No has been described as a ‘curtain raiser’. Two of the files consist of programmes, advertising material, newspaper cuttings and box-office receipts. A third one contains information about the difficulties Greene encountered in finding a theatre prepared to stage For Whom the Bell Chimes. The play which Greene initially described in a letter to Van Loewen as ‘a disreputable farce which I don’t suppose anyone will want’ was in three short acts 156

which proved problematic to place because most larger West End theatres required plays with a longer running time. Any chances of For Whom the Bell Chimes being produced in the United States greatly diminished when Monica McCall commented that elements of the absurd in it made it an unlikely Broadway production. This remark unleashed Greene’s ire and in an acid reply he told her that he was not concerned with what Broadway found ‘interesting’ adding, ‘And I am not much interested in whether you find it interesting’. His irritation over the whole matter was further evident in a letter to his UK agent in February 1979 when he stated that he did not want a West End or a television production. He instructed him to find a provincial theatre for the play or to ‘pigeon-hole it’. Eventually the two plays were produced at the Haymarket Studio Theatre in Leicester in March 1980. The file contains letters exchanged between Greene and the director Robin Midgley which include discussions about changes to the text of For Whom the Bell Chimes. Yes and No had a separate director. Other material includes performance contracts, discussions about foreign production rights and the publication of the plays by the Bodley Head. Interestingly, it was originally intended that a dramatization of Greene’s short story ‘Alas, Poor Maling’ should be used as the curtain-raiser. This idea was dropped at a fairly late stage and Yes and No substituted. A Gun for Sale There are many examples of the care Greene took over his published work

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and its presentation. One example is shown in a letter in 1964 to his French publisher Robert Laffont. The author had just read a translation of his novel A Gun for Sale and was ‘horrified’ at the poor quality of the text. He asked Laffont to cancel any reprints adding that he would rather the book was unobtainable than be republished in its present form. ‘Harz Mountain Story’ This was later published as No Man’s Land, and James Sexton’s introduction to the Hesperus Press 2005 edition of the story gives the full background to its writing. Greene’s letter to Laurence Pollinger in January 1950, written after a dinner with Korda and Reed, gave an outline sketch for a film story set in the Harz Mountains in Germany. Soon it was arranged for Greene to talk to a man about uranium, being part of the plot. Greene started writing and went to Germany to research. But by April Greene wrote, ‘To my relief Carol did not like the story in its present form’, so the film would wait. By September, London Film Productions agreed that the story was not in a fit state for production. In August 1957 Greene wrote that he had no further responsibility for the story. There are also items from the material Greene used in his research, including newspaper clippings on the Cold War and the H-bomb. The Heart of the Matter Much of the material on The Heart of the Matter relates to the film of the novel which was first screened in 1953. However, there are also a number of press cuttings about the novel, correspondence from the general public and a copy of the film script.

A letter from Greene dated June 1952 reviewed the film script and made detailed suggestions for changes. He voiced his concerns in a letter to Alexander Korda in September 1952 particularly about the ending and discussed how Scobie’s suicide might be portrayed without transgressing censorship laws. He was particularly horrified by one suggestion that he should appear on the screen at the beginning in order to explain the film to the audience. Disagreements reached a climax in May 1953 when Greene threatened to have his name removed from the credits unless one scene was reshot and the last line of the film changed. His wishes were granted and the extra costs incurred were accepted along with the loss of earnings during the summer season caused by the delay in distributing the film. The Honorary Consul The writer considered The Honorary Consul to be one of his best novels. The twenty-one separate files in this collection concern both the novel and the associated film. All but four consist of correspondence, the remainder press cuttings, galley proofs and contractual information. While writing the novel, Greene sought advice about Argentinian divorce laws and wanted to know from his doctor brother Raymond about a drug which might be used to render a man unconscious quickly. He resisted suggestions that the book should be serialized prior to publication and wanted minimal information released about its content. He also strongly disapproved of the suggested panoramic scene depicted on a draft dust jacket and demanded that it be discarded. 157

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Early discussions about the sale of film rights pre-dated publication of the book. Initially, Greene appeared very keen that Peter Duffell should direct the film as he had been impressed by the latter’s work on England Made Me, which had been released in the United Kingdom in 1973. Subsequently, Duffell produced a screenplay which Greene thought ‘extraordinarily good’ but over the period 1974–7 the director’s plans stagnated owing to lack of funding. A further six years elapsed before the matter was finally resolved and Twentieth Century Fox released the film. The tortuous progress of this project from 1975 until 1983 is recorded in these files. Meanwhile, Greene’s hopes of retaining some measure of control and of employing a British director and a screenwriter he could trust had long since disappeared. Despite his protestations over the power of Hollywood, and his intense dislike of several of the films which had been produced based on his books, Greene was ultimately prepared to accept the terms of the contract he was offered. His pragmatic attitude was shown in a very early discussion about the film rights for The Honorary Consul when he wrote, ‘. . . in my position money is still a prime object as far as films are concerned . . . A film comes and goes and is forgotten and as long as I am satisfied with the book the book stays.’ There is additional discussion on other matters which does not pertain to The Honorary Consul. This includes a joint project with Peter Duffell regarding a television film entitled The Marquis of Bolibar, editing work on Dottoressa Moor’s autobiography and references to the writing of The Human Factor. 158

A House of Reputation This full length, three-act play has never been performed on stage, other than once as a dramatized reading, and has never been published. It is set in a Central American brothel. There is evidence elsewhere that the play had an exceedingly long genesis and that Greene had particular problems finding a suitable ending. This file contains a complete typescript, dated 1986, and another copy with extensive revisions in the author’s hand which appears to be a duplicate of the one in Georgetown University. The condition of the paper in this version confirms that the first two acts pre-date the 1986 copy by some years. The Human Factor Greene found his novel difficult to write and was never happy with the outcome. Although a considerable proportion of the material in the archive does refer to the novel, the largest amount concerns the film. Much of the correspondence relating to both seems to have been fraught with difficulties and irritations for the author. Discussions about serialization and film rights, as with The Honorary Consul, pre-dated the publication of the book. Greene, following an unhappy experience with The Comedians, was opposed in principle to serializations but finally agreed to one being published in The Sunday Times and to extracts appearing in Playboy magazine. In April 1978 he wrote angrily to his French translator Georges Belmont criticizing large sections of the French version as being ‘clumsy, flat and literal’. He demanded a rewrite, threatening to tear up his existing contract. He sent a cable, in a similar

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vein, to his American agent absolutely refusing to sanction digest versions of the novel and grumbling, ‘I seem to have no American agent.’ The publication of The Human Factor also produced a fractious series of exchanges between Greene and the South African historical fiction writer Mary Renault. Renault accused the author, through the novel’s narrator, of implying that the South African government had contemplated genocide as a solution to the problems with its black population. Greene’s caustic reply stated that if Renault had read the book carefully she would have realized that the genocide plan was pure fantasy. When Otto Preminger obtained an option on the film rights Greene tried but failed to engage Peter Duffell as the screenplay writer. There followed a lengthy gap during which Preminger remained silent about his plans apart from exercising his renewal options on the film rights. The film of The Human Factor was finally released in the United States in December 1979 and in the United Kingdom a couple of months later. Greene’s frustration was driven in part by his mistrust of Otto Preminger. In letters to Joseph Losey and to Tom Stoppard, who had written a screenplay for the film which he approved of, Greene related how constant delays by Preminger were the cause of the abandonment of plans to film his novel A Burnt-Out Case. He remarked on the director’s ‘limitless wealth and increasing fatigue’. Relationships between the writer and Monica McCall, who controlled negotiations with Hollywood companies and directors on the author’s behalf became increasingly

strained. For example, in January 1979, in answer to his agent’s enthusiasm over another screenplay version, Greene replied acidly, ‘I didn’t find it marvellous at all . . . I hope you realise that it’s my approval of the script and not my agent’s approval of the script that counts.’ Jim Braddon and the War Criminal / Nobody to Blame Jim Braddon and the War Criminal was a short film treatment which Greene was paid to write for Warner Brothers. Nobody to Blame was a longer one prepared for Metro-Goldwyn-Meyer (MGM) under the terms of the same two-year contract which produced the novel-length The Tenth Man. Typescripts of the two treatments are included in the file together with a covering letter from Greene to his agent Laurence Pollinger written in 1950. He stated that the manuscript for Nobody to Blame should be submitted to MGM, adding rather intriguingly, ‘This and The Little Fire Engine will clear off their options’ suggesting that an additional treatment of his children’s book existed. The Living Room There are no fewer than thirty files pertaining to Greene’s first full-length work written for the stage. Nearly half of these refer to a succession of unsuccessful attempts to make a film of the play either for the screen or latterly for television. The first five files cover the period leading up to the first performances, in Stockholm and then in London. As this was Greene’s first, proper venture in this medium, if one discounts the unsuccessful adaptation of The Heart of the Matter in 1950, his theatrical agent sensibly gave Greene his views on the 159

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script with some suggestions for changes. The Lord Chamberlain also had to be consulted regarding censorship. In what seems to have been a ‘tongue-in-cheek’ exchange between the censor’s office and the play’s producer Donald Albery over objections to the sound of a toilet being flushed offstage, the official writing on behalf of the Lord Chamberlain suggested substituting the noise of a sink emptying. Although The Living Room was well received when it premiered in London in April 1953 under the direction of Peter Glenville, by December of that year box-office takings had fallen quite drastically due in no small part to the prolonged absence of Dorothy Tutin, whose performance as Rose had been a key element in its initial success. In July Greene wrote to Albery concerned that Tutin was not likely to return to the cast for some time and suggesting she should consult a psychologist. The play was unsuccessful on Broadway when it opened the following year. There were references made to several other plans for a stage revival but there was not a major production again until Bryan Forbes directed the play in 1987. Greene exchanged letters with Forbes regarding the play and although he declined to attend the opening night because of the likely press attention he subsequently watched and enjoyed the production. The writer was very keen that a film adaptation should be made. He wrote several versions of the screenplay himself and for several years worked closely with his producer friend John Stafford on the project. By December 1960, with casting matters apparently settled and a film 160

likely to feature such prominent names as Rex Harrison, Sybil Thorndike and Ralph Richardson, it seemed probable that filming would commence shortly. Greene wrote enthusiastically to both Harrison and Richardson that he had written three new scenes which, following their suggestions, had added humour and warmth to some of the characters. This all changed the following year. Despite news from United Artists that filming could start in August, the project was dealt a double blow when first Richardson and then Harrison withdrew. Greene was deeply upset by Rex Harrison’s decision which was made very close to the production start date. Paul Scofield and Alec Guinness also declined invitations to take part causing Greene to complain to Ralph Richardson about ‘the long drawn-out death of The Living Room’. Despite much perseverance by the author and John Stafford during most of the 1960s, neither the film nor a television adaptation ever materialized. This set of files also contains some box office receipts together with a large number of press cuttings. Loser Takes All Material relates to the 1956 and 1990 film versions of the story. In September 1954 Greene mentioned William Wyler as a possible director of a film version, but this came to nothing. There are detailed notes on the film script following a meeting in December 1954, and Greene went to Monte Carlo to research the location. In June 1955 the director Ken Annakin extolled the virtues of the script Greene had written, but later

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wrote about the many difficulties the film involved. In April 1956 Greene outlined his criticisms, but found that the changes he wanted in the film credits could not now be made. There is also an undated document (presumably from 1955)  of ‘additions to original story’, with Rex Harrison and Audrey Hepburn named in the cast. James Scott told Greene, in a letter to Greene in October 1985, that he had now written three versions of his story; the most recent involved important changes, and had the title Winner Takes All. Scott asked if Greene would look at the screenplay, but Greene refused. Scott wrote to Elisabeth Dennys in February 1987, trying to keep the project alive. There is gap and then a batch of letters dated 1992, concerning the finished film’s inability to gain a theatrical release. The Man Within The files include letters concerning film and television rights  – in 1963 Greene tried to remove the 1947 film from British television, and in a letter in 1984 he described that film as ‘quite unutterably bad’. ‘May We Borrow Your Husband?’ Confusingly for the researcher there are two separate sets of files with the title May We Borrow Your Husband?. The first set, in sub-series A concern the rights to a film of the short story of that name and the other, in sub-series B, to the publication of the collection of stories entitled May We Borrow Your Husband? and Other Comedies of the Sexual Life published in 1967. The film rights for the title story were secured by Dimitri Tiomkin shortly after the publication of the collection.

The three relevant files in this series refer to the efforts made throughout the 1970s by Greene, through his American agent, to wrest control away from the Russianborn Tiomkin who was best known for his Hollywood film music scores. It is Tiomkin’s lack of experience with direction which caused Greene concern. He wrote to Pollinger in February 1969, ‘my information is that he hasn’t shown a single picture’. Four years later he told his American agent that Tiomkin’s first film in London had been a disaster. Monica McCall later admitted that she had made an error by selling the film rights to Tiomkin back in the previous decade and wished she had made the deal on a lease basis. By 1981 there was still no resolution to the matter and by that time age and ill-health had confined McCall to a wheelchair and she could only work on a part-time basis. Responsibility for Greene’s American interests passed to Mitch Douglas who as a television specialist confessed to being ignorant of book and motion picture matters. After Tiomkin’s death in 1979 there was confusion over the ownership of the rights when Paul Theroux made enquiries of Greene’s agents both in the United Kingdom and the United States. It was discovered eventually that Tiomkin’s widow still retained the rights after some twelve years. Eventually, a film of May We Borrow Your Husband? was made in 1986. Monsignor Quixote There are letters from 1979 to 1981 concerning the Sylvester and Orphanos limited edition of ‘How Father Quixote Became a Monsignor’, and extensive 161

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correspondence from 1981–2 concerning developments with the novel and reactions to its publication. Greene heard from fans and friends, including Father Durán and Michael Meyer. There are many letters from his niece Louise Dennys at publishers Lester and Orpen Dennys. Correspondence from 1983 to 1986 relates to the television version of the novel. A deal was signed with Thames Television, with Father Durán as consultant. In February 1984 Greene commented that the existing adaptation was ‘utterly impossible’. Christopher Neame, the new writer, contacted Greene about the script in June 1984, and Alec Guinness wrote two days later that he was enthusiastic about playing Quixote. In July 1985, with the film finished, Greene wrote to Guinness with his opinion of it. Extensive additional material includes Father Durán’s 1983  ‘On the Road with Graham Greene’s Monsignor Quixote’, a 33-page discussion of the novel. Our Man in Havana In January 1958 Greene related his progress in finishing his ‘comedy thriller’, and later in the year there are examples of his assertiveness as an author. In June, in a long letter concerning queries and corrections to his manuscript, he wrote, ‘my punctuation has to remain unchanged’, while a telegram from November read: ‘Horrified by vulgar and stupid picture Bookseller of August 30 Unless you withdraw all posters this will be last book of mine published by Heinemann.’ Letters from 1958–9 chart the progress in the making of the film. In April 1958, with the novel not yet completed, Cary 162

Grant was mentioned as a possible lead. In July a cable asserted that there was ‘Absolutely No Truth’ in the claims that Alfred Hitchcock has secured the film rights’. That same month, Carol Read told Greene the book was superb and asked if they could make the film together. In August, Greene agreed to write the script, and Reed visited Cuba with Greene to look for locations. By December the two were writing the film script, and in January 1959 Greene told Reed, ‘It’s a real pleasure working with a perfectionist.’ By May Greene was providing new lines of dialogue for the filming. There are details of the development of the opera version. After Greene saw the opera, in July 1963, he wrote two letters: Sidney Gilliat’s libretto was ‘absolutely first-class’, while he told Williamson that the opera was ‘a damn sight better than the film’. The Pleasure-Dome Correspondence from 1970 to 1973 was mainly between John Russell Taylor and Greene in their collaboration on a collection of the latter’s film criticism. In January 1971 Greene mentioned the reviews of silent films he wrote for the Oxford Outlook between 1923 and 1925, but despite considerable efforts, no copies could be tracked down. The need was emphasized to omit the Shirley Temple review, which had resulted in a court case. The most contentious issue was whether to include all of Greene’s reviews. Taylor argued at length that the collection should be complete, so as to give a full, rounded view of the films of the 1930s. Greene preferred a shorter book, omitting many short reviews  –

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‘three or four lines about a bad forgotten film that didn’t even contain as much as a wisecrack’, as he put it in a letter to Judith Adamson in 1973. In the event, Greene had his way, but with no explanation of which reviews had been omitted, or why – with the exception of the Shirley Temple review. There was friction between the collaborators  – Greene wrote that Taylor had ‘a rather excitable disposition’. Greene suggested a number of possible titles for the book, including A Stately Pleasure Dome; Michael Korda did not like the idea, so the US edition was given a different title. Given the omission of some reviews, a subtitle of ‘collected’ rather than ‘complete’ was agreed. In a letter of June 1972, Greene wrote of ‘an excellent article on my film criticism by Judy Adamson in the May issue of SIGHT AND SOUND’, commenting that it would make a better introduction to the volume than Taylor’s; in the event, Greene wrote an introduction, not Taylor. There is a copy of Judith Adamson’s review of the book from Cinema Journal. The Portable Graham Greene In November 1970 Greene suggested a possible editor of this collection – Philip Stratford, ‘who wrote an excellent book on myself and Mauriac’. Stratford was appointed editor, with his selections subject to Greene’s approval. The Potting Shed The Potting Shed was the last of Greene’s plays overtly to explore issues of Catholic faith and belief. As such, it elicited much ‘audience response’ which is reflected in the amount of correspondence the author received which is included in these files –

some rational, others intensely personal and emotional. As with The Living Room, Van Loewen commented on a draft of the play as early as 1955. He found much to praise but felt that The Potting Shed lacked the drama and the ‘condensation’ of the earlier play. He criticized the characters of Mrs Callifer and Sarah as sketchy and suggested deleting some of the minor characters altogether. Unlike Greene’s other plays, The Potting Shed proved a success on Broadway. He made considerable changes to the second act and entirely rewrote the third for America. The US production was first performed in 1957 and by the time it opened in London the following year, Greene had again radically altered the script, mostly reverting to his original ideas. The Power and the Glory Letters from 1969 to 1989 include a number of interesting exchanges between Greene and his readers. A long letter to a Mrs Eva Kearney discussed religious matters; a letter in 1982 to a schoolboy in Northern Ireland explained about the priest’s dream and added, ‘you know a writer often puts down things about his characters of which he doesn’t himself understand the purport’; while in a letter in 1989 to a young fan of fifteen in Essex, Greene declared The Power and the Glory to be the favourite of his books, and commended the boy’s artwork. One file has correspondence from 1953 to 1954 concerning the denunciation of The Power and the Glory by the Holy Office in Rome. There is a translation of the original letter from 163

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Cardinal Pizzardo, Secretary of the Holy Office, to the Cardinal Archbishop of Westminster, dated November 1953, in which the denunciation was announced and explained; Greene was asked not to allow future reprints or translations of the novel without the appropriate corrections. A series of letters from May 1954 show the rapid developments in the episode. Greene got support from Evelyn Waugh, and a promise of a public protest on his behalf. Greene sought and received advice from his friend Archbishop David Mathew, and wrote to Monsignor Montini (later Pope Paul VI) and to Cardinal Pizzardo himself, defending the novel and pointing out the impossibility of preventing future reprints. By May Greene was expressing his ‘bewilderment’ at the whole business, and to Archbishop Mathew, described it as ‘this silly affair’; in a letter to his friend Michael Richey in June Greene wrote that the matter was likely to blow over – ‘I expect they realise that a mistake has been made tactically.’ Letters from 1952 to 1956 refer to the novel’s adaptation as a stage play, with Denis Cannan and Pierre Bost as writers and Peter Brook as director. By January 1952 Cannan had written a first draft, and the following month Greene gave his detailed comments, calling it ‘structurally excellent’. In December, Greene and Cannan were rewriting a major part of the play, and in February 1953 Greene resisted crediting Brook as part author. The process of revision continued through 1953 and 1954. A French version was written, which Greene was keen on, and this was used to improve the English version – in August 1955 Greene 164

commented, ‘there is in the play now almost as much Bost as Cannan.’ There are details of the CBS television version of the novel in 1960 – a two-hour production costing $700,000, with forty sets and 151 actors; an article in Life magazine referred to Laurence Olivier’s ‘masterful portrayal’ as the whisky priest. A Quick Look Behind: Footnotes to an Autobiography After Babbling April was published it was to be a further fifty-eight years before he allowed a second volume of poetry to be made available to the public, admittedly in a limited edition of some 330 copies published by a company in Los Angeles. This file contains correspondence between the author and the publisher Sylvester and Orphanos. Although he liked the appearance of the book, Greene told Stathis Orphanos he preferred the limited edition the company had produced for ‘How Father Quixote Became a Monsignor’ the extract from the novel Monsignor Quixote. The Quiet American Material from the mid-1950s includes the noting of corrections for future editions; Greene responded to a long letter of March 1956 concerning American dialogue, so ‘a bit of tail’ became ‘a piece of tail’. In April 1958, Greene expressed his disgust at the film of the novel  – ‘the vehicle for propaganda of exactly the opposite kind to the book’. Letters from 1988 concern a proposed new film of the novel. Peter Palliser was involved, and Greene felt that the script was ‘excellent’, and a later version ‘admirable’. Greene asked if Peter Duffell

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could direct it, but Charles Sturridge was named. No further progress on the project is recorded. Reflections This miscellaneous collection of writings, two of which were hitherto unpublished, was compiled by Judith Adamson with the approval and assistance of Greene. This file consists of a typescript of Adamson’s introduction with authorial corrections.

‘Remembering’ Series Items from 1974 to 1977 all concern essays relating to people and episodes in Greene’s past, to be incorporated into a work called ‘Remembering’. No such book was published, but much of the material referred to was eventually incorporated into Ways of Escape. There are the typescripts of the first six in the series, all published in the Daily Telegraph in 1974 and 1975. A later document added three more titles to the list  – ‘Herbert Read’, ‘John Hayward’ and ‘The Defenders’, and had a title page with an epigraph from Flaubert – ‘As my body continues on its journey, my thoughts keep turning back and bury themselves in time past.’ In 1977 David Bathurst sought to publish the series in a limited edition; Greene replied in May that it currently stood at around 35,000 words, but that he might find a few more pieces in the summer. In June Greene suggested a different book, called ‘The Troubled Places’, including the articles he had written as a correspondent  – on IndoChina, Malaya, Allende and Chile, Castro and Cuba, Panama, and finally extracts from Greene’s Blitz diary. Other possibilities were discussed, but without agreement.

There is also an undated two-page outline of a yet bigger project on similar lines. With the heading ‘Remembering’, there is an A to W listing of possible elements, though only sixteen of the letters have title entries. Some are familiar  – ‘Anglo-Texan Society’ and ‘Herbert Read’  – but others are intriguingly teasing: ‘B’ has ‘Ernest Bevin/Brothels/ Barrel-organing/Guy Burgess/Blue Film in Bangkok’, ‘N’ has ‘The New Boy (in S.I.S.). First day. Oriel. Motor cycling. Desertion. The Iffley Exercise. Philip Magnusson. Toynbee’, ‘T’ has simply ‘Thefts from letter box’, and ‘V’ has ‘Voyage with a Crown Prince’.

The Return of A.J. Raffles The Return of AJ Raffles was Greene’s last publicly performed three-act play. In a letter to Van Loewen in September 1974, he described how the idea had come to him having recently seen a disappointing play in London about Sherlock Holmes. Greene stated that he realized that recent changes in the law would allow the obviously homosexual relationship between Raffles and Bunny to be highlighted. The Royal Shakespeare Company (RSC) showed immediate interest through its play adviser Ronald Bryden. Although van Loewen hoped that a venue could be found which promised a longer run than the limited season offered by the RSC, Greene was content with the offer being made. By the middle of October 1974 he had produced a first draft which he sent to Bryden with a note advising that the part of Raffles should be played ‘absolutely straight with no camping’. The following year, the play completed a six-week season at the Aldwych Theatre 165

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in London followed by a further two weeks at Stratford-upon-Avon at the end of 1975. Plans for a US production in 1976, however, failed to materialize.

Selected Works The file consists of some correspondence regarding proposals for a Czechoslovakian ‘Selected Works’ edition. ‘A Shocking Accident’ This short story was first published as part of the May We Borrow Your Husband? collection. In December 1981 a small production company, Flamingo Pictures, asked permission to make a film based on the darkly comic story. The resulting film won the Best Short Film at the 1983 Oscar Awards Ceremony. The Stranger’s Hand There are materials giving some details of Greene’s contribution to the story on which the 1954 film was based. Greene started the story in 1949, beginning from two paragraphs he had written for a New Statesman competition. There is a typescript by Greene of seventy-three pages, ending part way through the story, and two pages of a typed synopsis of the rest. In October 1949 Greene told the film’s eventual director Mario Soldati that the finished part was of 13,000 words and the synopsis of the remainder very brief, because a very detailed one would deaden his writing. In January 1950 Greene wrote that the synopsis covered the remaining 7,000 words of the story. There is considerable further correspondence in early 1950, then a lull: the impression is that Greene had grown bored with the story and turned to other things. In March 1952 166

he told Laurence Pollinger: ‘I doubt whether I shall complete that story THE STRANGER’S HAND, although one never knows.’ There are nine pages of further undated Greene material, with ‘new conception and development of the characters Roberta and Hamstringer’: the former had originally been a male character, and was changed to female at the suggestion of Guy Elmes, one of the two people credited with the screenplay. There are other odd pages of material on the story. Other items relate to the film as it developed from 1952, including a letter Greene sent to Alexander Korda in April 1954 giving detailed comments on the finished film, which he had just seen. The Tenth Man Items in this file allow some light to be cast on the discovery of the manuscript of The Tenth Man in 1983. There is a copy of the typescript of The Tenth Man, sent by Laurence Pollinger, Greene’s literary agent, to MGM’s man in London, Ben Goetz; Pollinger’s letter is dated 19 December 1944, though there is no indication on the typescript where it had been kept from that date. In April 1966 a Charles Morris of Stepney in London wrote that he had a copy of the manuscript of the story, and offered it to Greene. Greene replied that it was all ‘rather a mystery’. Morris made a reference to an East End stall  – presumably where he bought it – and sent his copy to the author. Greene replied, ‘I don’t ever remember having copies of this made and I am certainly glad to be able to destroy one!’ A note on Greene’s reply added, ‘Found by E.D. [presumably Elisabeth Dennys] in 1985 in an old and

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irrelevant file!’, as if the episode had been forgotten. There is no record of what was done with the manuscript, and no further correspondence with Mr Morris. Greene received a letter in January 1983 telling him that the work had been discovered and was to be published in England later that year, and that a film studio had secured the rights. Greene’s secretary replied in April that other rumours about the work had been heard. Greene learned in May that the British publisher Anthony Blond had bought the British publication rights for £12,000, and Greene’s agent Gerald Pollinger gave him details of his 1944 contract with MGM. In June Greene told Pollinger that he was ‘completely puzzled’ by this, adding that he remembered only ‘writing a short possible outline for a film’. Confirmation was received that MGM had all rights relating to the story. Greene and Blond met and corresponded. Greene did not want the story published, and Blond said that if he would write an account of his reasons, this account could be published with the novel. Greene asked Blond to send him a copy of the story, and in November 1983 told him the story was ‘written nearly 40  years ago under wartime financial pressure .  .  . a film story . . . never thought of . . . as a book’. In the same letter he applied pressure on Blond, stating that he would be ready to announce that it was ‘published without my consent from a nearly 40  year old manuscript which has not seen any final revision’. Despite this, in the same month Greene wrote to Michael Meyer that the story was ‘to my embarrassment rather good. In my memory it was just a sketch of an idea for a film of a few pages, but it

proves to be 100 pages of typescript and I think rather better than its successor The Third Man but not so filmable’. Greene’s publisher Max Reinhardt became involved in discussions about publication of the book, and by January 1984 an agreement was made that it would be published jointly by the Bodley Head and Anthony Blond. In March 1984 Sam Marx wrote to Greene, telling the story of how he found the manuscript of The Tenth Man at MGM, sometime in 1981 or thereafter, and inviting Greene to write the screenplay for a film version. Greene turned down the suggestion. Elsewhere in the file, on an unrelated matter, is a letter from Greene to Professor David Leon Higdon in June 1983 about editions of Brighton Rock. Greene commented, ‘I deleted references to Jews before the uniform edition I believe after the war and the holocaust. It was a kind of unconscious anti-semitism evident in the book I didn’t wish to continue.’ The Third Man Greene wrote in a letter of January 1949 that he did not do a serialization in the United Kingdom  – ‘The story is not a good one’  – and in October he wrote, ‘THE THIRD MAN has never been published, and will never be published, in book form.’ There are letters regarding the film mostly dating from 1948 to 1950. In January 1948 Greene sent Korda a threepage summary, very different from the final story, with ‘Cary Grant’ as the central character. In April that year Greene sent Carol Reed the final script. In March 1950 Greene and Reed issued a joint statement about their visit to Selznick in California, 167

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following controversy about differing accounts of the meeting. There are copies of Greene’s prefaces to The Third Man and The Fallen Idol, the former written for the US edition of the book. Both vary slightly from the prefaces included with the 1950 UK edition of the books, In the case of The Fallen Idol, this includes Greene’s view that it was ‘a bad title’, even for the film. Travels with My Aunt Letters in the period from 1968 to 1969 reveal Greene’s increasing frustration with his long-time US publisher Viking Press. The deterioration in the relationship between writer and publisher is also discussed in the section on the Viking Press in the Texas archive. In June 1969 he wrote to his US publisher suggesting using a blurb he had written for the book in which he used the term ‘Greeneland’, stating that it had ‘its summer regions’. A cable in August of that year suggested a change of title in the United States to A Crook’s Tour or A Crook’s Tour With My Aunt, since the present title suggested a travel book; Greene’s famously cabled in reply, ‘Much prefer change publisher.’ There are also readers’ letters from 1969 to 1980 in this collection giving their reactions to the novel  – from train buffs, a civil servant called Pulling, and about a filly to be named Aunt Augusta. Other correspondence between 1969 and 1972 charts Greene’s involvement in suggestions for a film of the book. He sent proofs of the novel to Katharine Hepburn in July 1969 – ‘I know Katherine and like her very much’ – and later sent a copy of the book to Alec Guinness. He suggested 168

a television series ‘with all the short stories contained in Travels’. In February 1970 he was not keen on the thought of George Cukor as director. In February 1972 he heard that Hepburn had walked away from the lead role, and that Maggie Smith was to replace her. The following month he commented that Smith was ‘a mistake as she is far and away too young .  .  . However .  .  . I must admit I have always hoped that [the film] would never come to shooting’. Monica McCall saw the film in November and condemned it, advising Greene not to see it. Sub-Series B: Short Stories Sub-series B is organized either by individual short story or by collection title. There is a complete listing of this sub-series in Part 2. If the material on a particular story or collection includes more than simply the published copy of the work then this is described in the section below. ‘The Abandoned’ This typescript has ‘THE ABANDONED’ on the title page, with ‘FOR WAYS OF ESCAPE’ in Greene’s hand at the top; the next page has ‘DRAFT’ and the date, 13 October 1979. It concerns Greene’s second and third novels, The Name of Action and Rumour at Nightfall; the version in Ways of Escape varies occasionally from this one. Here, Anthony Hope’s The Prisoner of Zenda is mentioned as an influence on The Name of Action; while on Rumour at Nightfall he comments on ‘a curious bisexual relationship’ between Chase, Crane and the main female character, and on his own clumsy use of ‘the point of view’ as recommended in Percy Lubbock’s The Craft of Fiction.

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‘Awful When You Think of It’ A six-page typescript, with Greene’s inked amendments ends without the final sentence of the published story. ‘A Branch of the Service’ Handwritten on squared paper is a title page which reads ‘When Eating was a Burden/Abandoned March 89/Taken up again and finished Sep.89 under title/A Branch of the Service’. The manuscript has corrections and deletions, with pauses in the writing apparent a little way into Part 2 of the story, and again later on in that part. A typed manuscript, dated 5 August 1989, contains corrections, additions and deletions. It ends after eight pages, around halfway through the published story. A further eight holograph pages are then added which complete the story. An accompanying envelope gives details of the various manuscript drafts the story had gone through. ‘A Constant Question Mark’ This essay is misplaced in the Boston archive short story section. The file contains an uncorrected proof copy, dated August 1987, and two further corrected proofs. The essay was published in the Independent newspaper in September 1987. The Last Word and Other Stories There are two separate files, one of which refers to the collection as a whole and one just to the title story. There is a handwritten draft of the preface to the collection with the author’s corrections and amendments, a typescript of the entire book with minor corrections not in Greene’s hand and two typescripts of the title story. Additionally there are several pages of annotations

by Amanda Saunders, Greene’s niece, referring to the work. May We Borrow Your Husband? and other Comedies of the Sexual Life The eight files relating to the publication of this short story collection present a thorough record of the discussions and preparations made for publication in 1967. Included is a list of corrections to the proof copy in the author’s hand. It would appear that Greene made a fairly late decision in July 1966 to add the story ‘Two Gentle People’ to the contents. There is also a file composed of press cuttings. ‘An Old Man’s Memory’ / ‘On the Way Back: A Work Not in Progress’ The files referring to these two stories from The Last Word and Other Stories, contain corrected typescript copies. The title featured in the published collection of 1990, minus the indefinite article, was used for an entirely different piece of writing entitled ‘Work Not in Progress: My Girl in Gaiters’. To avoid confusion, ‘On the Way Back: A Work Not in Progress’, the typescript of which is in the Boston files, was then renamed ‘An Appointment with the General’ when published in the above collection. A Sense of Reality This file reveals that the collection of thirteen or more short stories, originally to have been called ‘Under the Garden and Other Stories’, was to have included ‘Mr. Conway’s Congress’. This story was planned but not yet written and was to have been approximately 10,000 words in total. Another title, ‘The Revenge’ is also mentioned, of 1,000 words. It is presumed to be the ‘autobiographical 169

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fragment’ originally published in 1954 which has roughly the same word count. This proposed big anthology of stories was discarded: a letter of November 1962 confirmed the intention to publish the four-story A Sense of Reality. A further letter from Greene in April 1963 gives details of the actual dream on which ‘Dream of a Strange Land’ was based, and what had been added. Sub-Series C: Children’s Books This series includes letters and review clippings, and a full listing is provided in Part 2. The file on Dorothy Glover has letters following her death in November 1971, including one in which Greene described writing a rough draft for her drawings of The Little Train ‘during the fly-bomb period in a pub with Dorothy Glover who then made the illustrations according to the dummy’. Sub-Series D: Television and Radio Scripts This series contains a wide range of broadcast material dating from the 1930s through to the 1970s. It includes play scripts of adaptations of the writer’s published work, transcripts of interviews with Greene and transcripts mostly of radio broadcasts featuring discussions about his novels, plays and his autobiography. These latter broadcasts, some featuring eminent fellow writers such as V. S. Pritchett and Anthony Burgess, provide valuable contemporary opinion about Greene and his work. There is also some relevant correspondence. Two items are of particular note in this sub-series. First, there is a typescript with minor authorial corrections of his radio play The Great Jowett, first broadcast

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in 1939. Secondly, there is an unedited transcript of an interview with Jocelyn Ferguson for the Now Read On radio programme in 1971 which, unusually, was not later published in the Listener. Sub-Series E: Essays and Articles This wide-ranging and very varied collection of essays and articles is arranged, with few exceptions, in chronological order of publication. In some instances a single file includes just one piece of writing which is usually in the form of a cutting taken from a published magazine. In other instances several articles are grouped together and are connected only by the year(s) in which they were published. Several files include related correspondence. There are a few typescript copies of Greene’s writings and, in one instance, some notes in the author’s hand. Files containing more than just the published copy of the writing are described below. The Times The file contains copies of The Times between 5 and 17 May 1926. Greene worked for the newspaper during this period which coincided with the General Strike. This accounts for the reduced size of the newspaper copies included. None of the articles carries a relevant byline. Lolita Other aspects of Greene’s involvement during the 1950s in the controversy surrounding the publication of Vladimir Nabokov’s novel Lolita are described elsewhere in this book The relevant files, although they do not contain any published material by Greene about Lolita, do comprise press cuttings and

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some correspondence including a few letters from Nabokov to Greene. Writing on New Year’s Eve 1956, Nabokov thanked the English writer particularly for his assistance during the Lolita controversy but also for Greene’s wider support of his work over the last few years. There is an exchange of letters between Greene and Harold Rubinstein, a solicitor, about the possibility of taking legal action against John Gordon of the Daily Express newspaper for defamatory remarks made against Greene regarding the Nabokov book. In January 1959 Max Reinhardt wrote to Nabokov on behalf of Greene who was about to go abroad. They had learned with some concern that the author was considering allowing Lolita to be published in the United States with severe cuts. Greene was urging him not to and Reinhardt offered the opportunity to publish an uncut version under the Bodley Head imprint. Reinhardt explained that prosecution laws in the United Kingdom at the time were such that the person in the publishing company who signed the contract would be the one facing prosecution. Greene was prepared to sign on behalf of Nabokov. Reinhardt added that if the matter resulted in a court case Greene could use the arguments himself for his own defence. Although this strategy carried risks, Reinhardt reassured Nabokov that prior publicity about this course of action would lessen the likelihood of prosecution. In the event, Weidenfeld and Nicolson gained UK publication rights and Lolita was published in the United Kingdom for the first time the same year.

‘The Soupsweet Land’ A typescript of the piece is subtitled ‘Return to Freetown’ and dated January 1968. A later letter shows Greene’s incredulity that the title should be changed for publication in the United States. ‘Regina vs Sir James Barrie’ There is a typescript of the article, written as by a barrister addressing the jury in prosecuting Barrie’s novel The Little White Bird for obscenity, and a copy of the published article from the Spectator on 8 November 1969, which varies very slightly from the typescript. Essays and Articles (general) Copies of essays and articles by Greene that appeared in the press between 1970 and 1984 include the text of The Virtue of Disloyalty, his speech on receiving the Shakespeare Prize in 1969, which appeared in the Observer Review of 24 December 1972. ‘The Country with Five Frontiers’ and ‘The Great Spectacular’ Although Greene’s long involvement with Panama did not produce the novel he once predicted, he did use the experience to write the memoir Getting to Know the General: The Story of an Involvement. Some six years earlier, the New York Review of Books (NYRB) published two articles by Greene about Panama. Much of the material used in these articles also appears in the 1984 book. The first of the two NYRB articles, ‘The Country with Five Frontiers’, was published in February 1977. The relevant file contains correspondence with the journal publishers and with Greene’s agent. It includes a letter from Greene 171

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to the NYRB editor R. B. Silvers in September 1977 suggesting an article to be called The Pigeon House which would be about an apartment kept in Panama City for refugees from harsh dictatorships in Latin American countries such as Argentina and Nicaragua. ‘The Pigeon House’ did not materialize but ‘The Great Spectacular’, published in the journal in January 1978, gives Greene’s first-hand account of the signing of the Panama Canal Treaty in 1978. In this case, the three relevant files contain correspondence with the NYRB about the prospective article, letters exchanged with European editors anxious to acquire the publishing rights after the New York journal and a typescript of the article. The typescript shows that minor textual changes were made prior to its inclusion in Getting to Know the General. ‘A Weed Among the Flowers’ This article about Greene’s visit to China in 1957 was published as a miniature book by Sylvester and Orphanos in 1990. The file has a brief ‘appreciation’ of the publisher by Greene for an exhibition at the University of California, Los Angeles in 1990. There is also an undated typescript of the short story ‘A Really Impossibly Bad Hotel’, in which the narrator writes of a stay in an unnamed hotel in Berlin. A note states that it was unpublished, but then ‘Eventually published in Time and Tide 1985’. The ‘Really’ in the title was omitted in the published version. Why the Epigraph? As the title implies, this is a collection of the epigraphs Greene used in many of his books. The six pages of handwritten drafts 172

are a random collection of extracts from the short work. They include the preface, some of the epigraphs themselves and, in one instance, the extended footnote he wrote for The Ministry of Fear which, alone among Greene’s books, has epigraphs from Charlotte M. Yonge’s children’s book The Little Duke added for every chapter. From this footnote one can deduce why the epigraphs do not feature in the first edition of The Ministry of Fear but are included in subsequent editions. Greene wrote the novel while in Freetown in 1942. Clearly he did not have a copy of The Little Duke with him and by the time he returned to London in March 1943 the book was just two months away from publication. Sub-Series F: Reviews These files are arranged in date order and apply to book reviews and a single play review. There is one correspondence file. The published copies of the reviews and some typescripts are included. The copy of Greene’s essay for the Nino Caffè 1953 art exhibition is misplaced in this section. Sub-Series G: Letters to the Editor and Editorials Greene’s letters intended for publication in newspapers and journals and the associated correspondence date from 1945 to his death in 1991. The files are in date order, each one covering one or more years. Many of Greene’s letters elicited responses both positive and negative from public figures, from newspaper editors and from the general public. This correspondence is included in these files. Quite a number have since

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been published, notably in Yours Etc.: Letters to the Press 1945–89. There are also several drafts of letters which were never published or were declined for publication. This was particularly the case in the 1980s when Greene wrote on numerous occasions concerning the political plight of Nicaragua. In many cases one sees that the writer is being deliberately provocative. His comments range across a wide spectrum of subjects from the first Socialist postwar budget, American foreign policy, the ‘Pop generation’, West-End prostitutes and ways of assessing the worth of a day’s work. There are also several examples of his ‘spoof’ letters written using one or other of his several pseudonyms. Sub-Series H: Non-Fiction Books (Travel, Biography and Autobiography) The files are made up chiefly of letters – sometimes readers’ reactions to books, sometimes on issues like foreign rights – and sometimes extensive press reviews and other clippings. A full listing is provided in Part 2. Getting to Know the General In a letter of January 1984 Greene wrote that it was possible ‘that I shall be sufficiently dissatisfied with the book not to publish at all!’ The letter has comments on other matters. He wrote of J’Accuse that ‘a good deal of it was written by Martine and some of it was even written by my lawyers’. Commenting on the film of The Honorary Consul he wrote, ‘Like most of my books it doesn’t make a film’. J’Accuse There is a very extensive collection of items in the files, most of them letters, the

great majority from 1982, when J’Accuse was published. Legal documents, and many letters in French, including some from the Ministère de la Justice, date from the period 1979–81. There is a long letter of March 1980 from Greene concerning Martine Guy, and his letter of December 1980 returning his insignia as Chevalier de la Légion d’honneur. There are many letters, often in French, reacting to Greene’s letter in The Times on January 1982 about corruption in Nice. Bodley Head received what was referred to as Greene’s ‘pamphlet’ in early April. A great many letters  – both official and otherwise  – continued to be sent and received. One of June 1982 advised Greene to come back to Britain, and safety, another in 1983 referred to Greene as a knight in shining armour. There are legal and court documents. There is a photocopy of Daniel Guy’s criminal record of 1960 to 1969, and a copy of Greene’s letter to Max Reinhardt of December 1986 stating that he did not want J’Accuse to be published in Dutch since ‘it has served its purpose’. There are two undated typescript copies of J’Accuse, and ‘Note sur le manuscrit de ‘J’accuse’, with general and specific comments in French, and marginal notes by Greene. Lord Rochester’s Monkey In 1971 John Hadfield of publishers Rainbird responded to a reference in A Sort of Life to Greene’s biography of Rochester asking whether it could be the basis for an illustrated book. A copy of the unpublished manuscript was retrieved from Texas. Greene found it not such a bad book as he had remembered, but perhaps 173

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too long and academic for publication as a picture book. In January 1973 he suggested Lord Rochester’s Monkey as the title. In February Greene stated that he thought the dating in A Sort of Life was probably wrong, now suggesting 1932–3 as the period of writing. In June 1973 Greene wrote that he had cut the text by about one-tenth, but could do more. In January 1974 it was announced that the biography would be published in the autumn ‘as a Rainbird book by the Bodley Head’. Greene was ‘pleasantly surprised’ by the good reviews in September 1974. A Sort of Life Letters from 1967 to 1970 cover the planning and writing of A Sort of Life. In May 1967, Greene wrote that he planned a two-part book: he had written over 20,000 words of the first part, a narrative of up to 30,000 on his life up to the publication of The Man Within; the second part was to consist of ‘autobiographical introductions’ about the writing of each of his books, and again, most of this was already written. The whole would amount to about 50,000 words and be ready by the end of 1967. By February 1968, Greene was convinced of an autobiography ‘next year’. By December 1970, he had dropped ‘An Essay in Autobiography’ as a subtitle. Letters from 1971, the year of publication, include one from Zoë Richmond telling him she was very pleased with the tribute to her husband Kenneth. There are very many letters sent by those with memories sparked by the autobiography, many of them concerning Berkhamsted: a contemporary of Greene’s at Berkhamsted School remembered him 174

as a quiet, solitary boy; Peter Quennell and Ben Travers contacted Greene; a reader from Ann Arbor, Michigan wrote about a series of details on Berkhamsted, and in December 1971 Greene sent a long reply, commenting, ‘Was Carter really the name of my tormentor? I thought that I had invented the name.’ In 1974 a correspondent wrote that Carter was sneering and cynical, exactly as Greene had described him. There is much nostalgia and congratulation in these letters, and some grouses and corrections. There is also a series of letters dating from 1971 concerning Cecil Roberts, former editor of the Nottingham Journal. A World of My Own Original material shows the work of Yvonne Cloetta and Louise Dennys, Greene’s niece and publisher at Alfred A. Knopf Canada, in bringing Greene’s dream diary to publication after his death. An undated typescript of ninetyeight pages has Greene’s introduction and the nineteen-chapter structure of the published book. There are two pages of queries and suggestions by Cloetta, who also added or altered the ordering system within chapters; and the section ‘In the Attic’ has been added to chapter IX, ‘The Job of Writing’. A typescript with corrections by Greene has been photocopied, then annotated with suggestions and comments, apparently by Dennys, and there is a page of material in Greene’s handwriting and a typescript of Cloetta’s foreword. Dennys wrote a fivepage letter to Cloetta and Max Reinhardt in February 1992, referring to her work with her uncle in editing Ways of Escape and Monsignor Quixote, and giving her

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views on the book. Dennys then added detailed comments on the structure, layout, content and style of the book. A further two-page letter from Dennys to Cloetta of the same date added comments on specific phrases and passages. Sub-Series I: Introductions and Consultation on Other Works These files contain mainly typescripts and correspondence. A full listing is provided in Part 2. An Impossible Woman: Dottoressa Moor There is a listing of the correspondence between 1956 and 1980, and a note points out that these letters are from two collections, one on the book An Impossible Woman: The Memories of Dottoressa Moor of Capri, the other the letters of Dottoressa Moor herself. There are over 400 letters in total  – around twenty-five from Greene to the Dottoressa between 1956 and 1973, and many in return, some of them postcards; there are letters from Greene to publishers, and some from him to the Dottoressa’s daughter Giulietta, and other publishers’ letters relating to the book. Further files contain the letters themselves. All the Dottoressa’s letters to Greene, beginning in January 1956, are handwritten, all his to her typed. Greene’s letters are always very solicitous towards her. In January 1964 Greene suggested that the Dottoressa write her autobiography, ‘perhaps with the help of an agreeable man to whom you could talk’. Some of the material gives detail of the progress of the autobiography: in April 1971 Greene’s secretary said that Kenneth Macpherson hoped to finish the

rough draft in about ten days’ time, and the following April, five or six hours of tape of the Dottoressa talking were sent to Greene and then transcribed. On occasion Greene gave an insight into other aspects of his life  – he wrote in relation to attending the funeral of Dorothy Glover in January 1971, ‘her end haunts me a bit still’. The Spy’s Bedside Book Extensive correspondence includes four letters from Hugh to Graham Greene from 1956 discussing possible extracts for inclusion, and a letter in March 1958 with Graham writing ‘It was great fun doing it.’ Sub-Series J: The School House Gazette The two bound copies of the 1911 Gazette contain handwritten poems, stories and drawing written by Greene’s siblings. Sub-Series K: Poetry This sub-series contains manuscript, typescript and published copies of ten of Greene’s rarest poems, including some early work. None was included in Greene’s published anthology Babbling April. The earliest poem in this small collection, ‘An Epic Fragment From “The Dish Pioneers” Attributed to A_F_D N_Y_S’, was published in Greene’s school magazine the Berkhamstedian in 1922 when the author was seventeen. It has not been reprinted. It has been transcribed and is included in a letter sent to Greene in 1983 the poem having been discovered in a notebook belonging to Eva Greene, Graham’s aunt. Three other verses, ‘The History Schools’, ‘The Secret Room’ and ‘Sad 175

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Cure: The Life and Death of John Perry-Perkins’ are also particularly rare having only been published once in low-circulation journals in the 1920s and never subsequently collected. Finally, there are typescript copies of the writer’s later poems: ‘Ballade of a Press Conference’ and ‘Song for Three Ageing Voices’ while ‘The Winter War: Finland’ is in manuscript form.

Series III: Travel The author was an inveterate traveller and the ninety-four files in this series cover the considerable number of countries Greene either visited or proposed to visit. Included are correspondence, some manuscripts and typescripts for later articles, newspaper clippings and other practical information ranging from visas to maps. These files do not necessarily relate to particular writing projects other than superficially but often provide interesting information and insights into the writer’s journeys across the world. Chile Letters relating to Greene’s visit in 1971 include two from Greene to Pablo Neruda and one to President Allende. China There are details of arrangements and contacts for Greene’s visit to China in 1957, including a page of notes about foreign missionaries and what to look for in China, and two pages of notes on the case of the Chinese critic and poet Hu Feng; who provided Greene with this typed material is not clear. Three press cuttings from June give an exchange of letters between Greene and Lord Chorley after their visit to China. 176

Czechoslovakia After Greene’s visit to Czechoslovakia in January 1969, he wrote to Hugh Greene commenting on people he met and referring to a list Hugh had supplied  – ‘Kundera I met and liked’  – but Greene was not so keen on some of Havel’s friends. Hungary Letters include details of László Róbert’s television film on Vietnam, ‘Film Letter to Graham Greene’, and two letters from Greene to his sister Elisabeth. Indo-China There are a great many letters from 1952 to 1967. Early ones contain lists of contacts for Greene to meet in visiting Indo-China, letters from Trevor Wilson, a typed sheet of questions and answers for ‘Mr President’, and a sheet ‘To Our True American Friends’ by the opponents of Diem. In 1965 and 1966 there are exchanges of letters concerning a proposed trip by Greene to visit Laos and Hanoi: Trevor Wilson wrote from Vientiane in April 1965 that Greene’s trip might upset Anglo-US relations in Laos. In July, Hanoi decided not to let Greene visit. A typewritten statement from Greene, apparently from 1951, addressed the French authorities in Indo-China, stating that they had regarded him as an intelligence agent ‘on no better grounds than my personal friendship with Mr Trevor Wilson, the former British Consul’. Greene added, ‘I am attached to no intelligence service and I have no mission here whatever except that of a writer for Life.’ There is also a seven-page typed document – undated, but apparently from 1955 – of background notes on the

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situation in Vietnam and Cambodia, and on Ho Chi Minh. The author of these notes is not stated. An exchange of letters in 1966–7 between Cecil Woolf and Greene concerns the latter’s contribution to Authors Take Sides on Vietnam. Greene tried to amend his earlier statements, but too late for the British edition; the amended version was included in the US edition. Ireland Apparently Greene decided to travel on the Belfast to Dublin Express in June 1976 as a result of reading an article in The Times. The journey between the two capitals had become notorious in the 1970s following attacks by members of the Provisional Irish Republican Army. As a result the train was sometimes given a helicopter escort. The Ireland file includes a memo about the trip composed by Greene’s secretary following a telephone conversation with the author from Paris. Greene had found Belfast ‘far more frightening’ than either Haiti or the London Blitz. He had experienced his longest ever ‘pub-crawl’ in the city in the company of the politician Gerry Fitt. He related how Fitt drank in the various bars they visited with one hand on his pint of beer and the other on a revolver in his pocket while his security men sat facing the doors. Greene admitted that he had been glad to leave Belfast. On the same journey he met another Irish politician, Conor Cruise O’Brien, while in Dublin and, like his Northern Ireland counterpart, found him to be a ‘hard drinker’. Israel There are press clippings relevant to Greene’s 1967 visit to Israel, which

resulted in his article ‘An Incident in Sinai’, including a cutting from the Jerusalem Post covering the incident, and a letter from Greene is quoted in which he commented that he had got caught up in it ‘with my usual luck’. There is correspondence relating to his visit and the published article. There is also a copy of his 1981 speech on receiving the Jerusalem Prize, and details from 1982 of an interview he gave to a PhD student who insisted he was an anti-Semite. Italy A letter to his agent in Italy in 1957 reveals two contrasting aspects of the author’s character: his unaffected generosity and his punctilious attention to detail. Greene requested that in future his Italian royalties should be sent to Father Mario Borrelli for his home for outcast children in Naples. The author stipulated that he wanted to be sent the accounts on a regular basis so that he could check that the funds actually reached the right cause. Kenya Letters from 1952 to 1956 concern Greene’s visit to Kenya in 1953. Often the letters are to Greene from Kenya, many of them thanking him for his letter to The Times in December 1953, with replies by Greene. There are typed notes on Maria Newall and an undated essay on her by Greene, which formed part of one of his Sunday Times articles on Kenya in 1953. Letters between Greene and Mrs Newall are in the files, as are copies of his articles. There are various documents Greene presumably used for information on Kenya, including one on Mau Mau oaths, and a ‘Hue and Cry Notice’ from the Kenya Police. 177

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Nicaragua Correspondence included in the Malaya and Indo-China file shows that Greene was personally indifferent to Malaya but captivated by Vietnam. One cannot state conclusively whether or not the author felt the same level of emotional involvement about Nicaragua but having visited the country several times he lobbied hard in the 1980s on behalf of the Sandinista Government and against the US-backed Contra rebels. His support principally manifested itself in letters to papers and the two files contain several drafts. Not all of these were subsequently published. Greene’s late involvement in Latin America in general caused him to be in demand to provide introductions or prefaces to books by other authors about the region. There are three drafts, two typescript and one manuscript, of a review of Norman Lewis’s book The Missionaries. There are also three drafts, one a typescript, of the introduction to Father John Medcalf’s A Parish at War: Letters from Nicaragua. Additionally there are two handwritten drafts of an introduction for the 1989 edition of the South American Handbook and a typescript of his essay ‘Nicaragua: A Personal View’. Poland Greene visited Poland in December 1955, having flown from Stockholm to Warsaw. Ostensibly, his purpose was to gather information about the country under communist rule and particularly the Pax movement, the government-sponsored, secular, ‘Catholic’ organization. This organization was mistrusted by many Polish Catholics 178

who were deeply suspicious of its true motives. Subsequently Greene wrote two articles for The Sunday Times which were published the following month. The Poland file described here should be considered alongside one in Series XII: Other Documents entitled ‘Philby Kim: Report from Poland’ as they relate to the same visit. Taken together they add weight to the long-held theory that Greene continued to work for British Intelligence after he officially left the service towards the end of the Second World War. The Poland file includes a number of names and addresses of contacts in the country, several written on scraps of paper suggesting that the writer collected these in the course of his visit. Indeed, some are referred to in the articles he subsequently wrote for The Sunday Times. There is also a memo for Greene’s attention from his secretary written prior to his departure with a message from the Polish Consul in London concerning arrival times and contacts. There appears to be a separate communication from another source on the same memo which warns Greene to check departure times in Stockholm in the light of possible adverse weather conditions. Rather enigmatically this message has been sent by the ‘N. Transport people’. The Kim Philby file includes an eight page, concisely worded document about the visit. It is carefully cross-referenced and ends with a series of pen portraits of various people Greene encountered in Poland, including Catholics opposed to the Pax movement and those who appeared to be working for the government. The writer suggests that his

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notes might be worth retaining ’in case their names crop up at any time on visa applications’. Clearly, the tone of this document suggests it is not intended as preliminary work for the future newspaper articles. It is not surprising that Greene should continue to be used by MI6 for intelligence gathering of this kind. The professional manner in which the document is composed suggests an experienced hand at work. However, it leaves one to conjecture why this report should be included in a separate file marked Kim Philby. Russia Early letters concern Greene’s visit in August 1957, together with his son, with relevant notes and contacts. A proposed visit in 1960 to attend the Gary Powers spy trial had to be cancelled because of a ‘film crisis’. There are letters from 1967 about Greene’s Russian royalties and the cases of Daniel and Sinyavsky. From 1980 there are many letters between Greene and his Russian translator, Boris Izakov, and draft, handwritten letters to the press on various Russian-related issues. There is also the text of a short talk which is close to the one Greene gave in Moscow in February 1987. Sierra Leone Greene returned to Sierra Leone in 1968 for the first time since the Second World War and based his Observer Magazine article ‘Graham Greene Revisits the Soupsweet Land’ on this experience. The file includes a typescript of the article with authorial corrections and some practical matters related to the visit such as hotel details and expense claims.

Sweden Greene had appointed Alan Redway as his bibliographer in 1949. Therefore it must have been a surprise for him to learn in the late 1970s that another bibliographer, Roland Wobbe, was working on a similar task. There is an exchange of letters in this file between Greene and Ragnar Svanström, the literary advisor to P. A. Norstedt. The latter was approached by Wobbe for information regarding Swedish publications of Greene’s books. The author cautioned against providing help for this unofficial bibliography, which was later published in 1979. United States of America The author’s often difficult relationship with the United States, and particularly its politics, has been well-documented. The papers in the three files relate to attempts made to acquire visas to enter the country. Greene admits on the first occasion to mischief-making with the authorities, at least in part. Other information in the files was added after Greene’s death. This includes a 1993 Guardian article about the Harry Ransom Center at the University of Texas which acquired a large number of Greene’s manuscripts and other newspaper clippings relating to the author’s visit to the University of Georgetown in 1985.

Series IV: About Greene Sub-Series A: Essays and Articles These essays and articles are by writers other than Greene and are on a diversity of themes concerning the author’s life and his work. 179

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Sub-Series B: Press Clippings The press clippings relate to the author’s life and work and date from 1948 until 1993. Sub-Series C: Memorial Services These files contain correspondence, tributes and other printed material about the various services held to commemorate the death of Greene. Sub-Series D: Biography The files contain correspondence and a legal agreement relating to Paul Hogarth’s book Graham Greene Country. However, the bulk of the sub-series concerns the unauthorized biography of Greene by Anthony Mockler. There is a very extensive collection of correspondence from the period 1986 to 1991 – the latter part of it of a legal nature – concerning this projected biography. A volume by Mockler, taking Greene’s life up to 1945, appeared in 1994; the promised second volume has never materialized. In January 1987 Greene wrote to the University of Texas declaring that he would not give Mockler any assistance or allow him to quote from his books, and asking them not to allow Mockler to consult his papers there. In June 1987 Greene wrote a long and interesting letter to Mockler, reflecting on the ongoing Sherry biography, expressing horror at the prospect of a second biography, but giving permission to ‘use quotation with reasonable moderation’. The following month he wrote to Mockler again, about how distressed he was by Mockler’s questionnaire and ‘menacing’ letter to his wife; permission to quote from diaries and letters was refused, quotations from published works were to be submitted for approval before publication – and any 180

breach of Greene’s copyright would result in legal action. Mockler continued to write long letters to Greene, to approach others for information, and to consult the archives. The stage was set for the long correspondence that followed. Sub-Series E: Genealogical Information This sub-series has information about Greene’s family history including his ancestor Robert Louis Stevenson. It also contains important family letters and official documentation such as birth and marriage certificates.

Series V: Organizations, Invitations and Awards Series V contains correspondence and other materials relating to a wide range of awards, investitures and invitations to join or participate in events organized by various societies. These range from the internationally famous French Legion of Honour and British Order of Merit, to the less well-known International Committee on the Liturgy, New Statesman Competitions and the World War II Fire Watchers.

Series VI: Honorary Degrees The files contain correspondence about the honorary degrees conferred on the author by UK and US universities.

Series VII: Interview Requests This very large series contains requests for interviews by editors and reporters the majority of which elicited a negative response.

Series VIII: Gifts Made by Greene As the title implies, this series records the correspondence and listings of the copies

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of Greene’s books sent as gifts to friends and family.

Series IX: Auction Houses and Manuscript Sales Graham Greene decided to sell the bulk of his most important manuscripts and working papers in the early 1960s. His motives for so doing are discussed both in the introduction and elsewhere in this book. He later encouraged others among his immediate family and close friends to do likewise. He continued to dispose of this unique material on a regular basis for the rest of his life. Copies of the auction house catalogues, or relevant extracts from them, are included in these files. These contain very detailed descriptions of the items for sale. In many cases the sale price achieved has been added in the margins. The remainder of the series consists of correspondence and other documents related to these various public sales and also to the private transactions which were brokered either through Sotheby’s Auction House, other intermediaries or latterly, in the case of the University of Georgetown, through personal arrangements between Greene and the librarian at the time, Joseph Jeffs. Undoubtedly the most significant auction of manuscripts took place in May 1964. The Sotheby’s catalogue described the twenty-three lots, including novels, travel books as well as examples of his work for the cinema and his yet unpublished biography of Lord Rochester. A separate entry in the same catalogue consisted of four further items belonging to Dorothy Glover including the manuscript of The Ministry of Fear

which was written during the height of Glover’s affair with the author during the Second World War. The most significant materials from among these lots were purchased by the University of Texas. Further manuscripts and personally inscribed editions of Greene’s works were later sold through Sotheby’s by Dorothy Glover’s executor, following her death in 1972 and by Yvonne Cloetta in the 1980s. The correspondence shows that a considerable number of other manuscripts owned by Greene were sold privately to the University of Texas during the 1970s in deals brokered by John Carter of Sotheby’s and the House of El Dieff in New York. Greene courted controversy in 1964 when the manuscript of his play Carving a Statue was included in the lots for the May sale referred to above. It provoked a mocking article in the Daily Mail as the play would not be staged for a further four months. Although in a letter to his agent Greene acknowledged his error in this matter it did not prevent him subsequently from selling other manuscripts prior to publication. Relations with the University of Texas soured at the end of the 1970s over a late payment and in a letter to Sotheby’s in October 1979 Greene indicated that he wanted the next collection of his manuscripts to go to open sale and not be disposed of privately to Texas. Perhaps by coincidence, the following month, Greene received a letter from Joseph Jeffs, who registered his university’s interest in building up its collections of Catholic writers and intellectuals. This initial contact between university librarian and author resulted in a large 181

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quantity of manuscripts, particularly relating to Greene’s later works, being sold to Georgetown University in the 1980s. More importantly, the trust and personal friendship which developed between the two men, which is explicit in the correspondence included, later led to the acquisition of outstandingly important material from the Catherine Walston estate and others including Greene’s friends Father Leopoldo Durán, Anita Björk, Yvonne Cloetta and his brother Hugh Greene.

1973 that Greene should write a history of sex scandals. The author’s reply is to the point, ‘No scandal for me thank you. I don’t like throwing stones in glass houses.’ ‘Little Wars’ contains an assortment of newspaper cuttings and other material such as a ‘Wanted’ notice from the Kenya Police and some Chinese slogans with accompanying translations. There is a covering note in Greene’s hand asking for these items to be placed in a separate file. He adds prophetically, ‘They’ll be starting one day’. ‘Philby Kim: Report from Poland’ was referred to above.

Series X: Legal Issues and Official Documentation

Series XIII: Photographs

These files include important and considerable correspondence about Greene’s rather acrimonious departure from the publisher William Heinemann in the 1960s and the alleged plagiarism of his novel It’s a Battlefield in Achille Mbembe’s Bound to Violence. The subseries also contains legal documents concerning book contracts and information about living abroad.

The seven sub-series in this section are variously named Travel, Personal Family Photos, Correspondence, Productions, People and Places Unknown, Photo Albums and Scrapbooks and Oversize Albums. The photographs and negatives in each sub-series have been catalogued chronologically and in date order where known. Some have been annotated on the reverse.

Series XI: World War II: Children’s Stories

Series XIV: Maps

There are four stories written by children of occupied countries during the Second World War. A cover letter, written from Gozo in October 1981, reminds Greene of the idea that he had discussed of having a collection of these and others published. There is no evidence of the idea having been pursued further.

Series XII: Other Documentation The fourteen files in this series consist of a miscellaneous collection of items, some ephemera. ‘British Sex Scandals’ concerns a suggestion made by Monica McCall in 182

The maps relate to places visited in the course of Greene’s extensive travels.

Series XV: Artifacts This series consists of Greene’s Travel Scrabble ® board game.

Series XVI: Artwork – Oversize Items This series consists of sketches and posters relating to the author’s work. GRAHAM GREENE PAPERS MS04–61

The items in this section consist of typescripts which were removed from the

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Graham Greene Library (see below) both to preserve their condition and because they are not ‘books’. Nine of the twelve typescripts relate directly to Greene’s work. Included is the prompt copy used in Peter Brook’s 1956 production of The Power and the Glory which had been adapted for the stage by Denis Cannan and Pierre Bost. There is also the ‘playing version’ of the script used in the US production of The Complaisant Lover, complete with a considerable number of deletions, additions and rearrangements to the original text. When Greene read the revised script he was horrified by the number of alterations that had been made and, by his own admission, sent a ‘vitriolic’ telegram to the producer Irene Selznick ‘while a little inflamed by wine’. The next day in a letter to Selznick full of apologies, he admitted that he had forgotten he had proposed many of the changes himself at an earlier stage but intensely disliked some of the substituted text. Jan Van Loewen considered that his original plan to employ the celebrated French dramatist Jean Anouilh to translate The Complaisant Lover for the Paris production had been ‘a brilliant idea’. This was far from the case and was the cause of a number of arguments. A carbon copy of L’Amant Complaisant by Anouilh and Nicole Lancon, which Greene dismissed as a straightforward exercise in translation, is included in the collection. Other items of historical interest include an envelope containing several typescript and manuscript copies of ‘How Father Quixote Became a Monsignor’.

This includes the original manuscript given to the Catholic journal the Tablet. There is also a hand-bound, computer printout of Victorian Detective Fiction. It is marked on the cover ‘unresearched, uncorrected draft’which highlights Glover and Greene’s extensive knowledge of this comparatively obscure subject. GRAHAM GREENE PAPERS MS 1986–69

A Sort of Life The 246-page, undated typescript adds to the extensive material on this book at Austin, Texas. Here, the possible title ‘A (?The?) False Start’ is crossed out before ‘A Sort of Life’ is inserted; this relates to the original ending of the book, which here is ‘I thought I was a writer .  .  . It was only a false start.’ There are quite extensive corrections and some additions to the typescript in Greene’s hand. Greene’s heavy cutting of material for the published work is very evident in the typescript, with long sections of material deleted. There are over eight pages on Greene’s time at Oxford, with mention of his friends, the barrel-organing with Claud Cockburn, a long passage on Robert Scott, and a long paragraph on Greene’s first novel Anthony Sant, although not named as such, which merits a single line in A Sort of Life. All the above was to be included between sections 2 and 3 of Chapter  7 of the published autobiography. There are deleted sections from Chapter 8, concerning Greene’s search for a job after Oxford, including some speculation on what might have been the consequences of his going to China with the BritishAmerican Tobacco Company. At the 183

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beginning of the second section of chapter 9, there is a crossed-out passage on Greene’s Anglican experiences at school. There is a deleted passage from Chapter 10 at the end of the first section regarding other journalistic offers at the same time as the one from The Times, and on the terms of Greene’s contract with the latter. A paragraph has been removed from the same chapter on the care taken over checking possible mistakes at The Times during Greene’s time there. This was in contrast to working practices at the modern newspaper. Pages 218–26 of the typescript have been removed; this is the section on prostitutes, present in the material at Austin. Almost the whole of chapter  10 section 5  – dealing with the diagnosis that Greene had epilepsy  – is crossed through, as if he intended not to publish this; but the great majority of this text does appear in the published book. The deleted section which was eventually left out would have been included after the paragraph in which Greene watched the reactions of the parents of a dead child in hospital in which he famously described the ‘splinter of ice’ in the heart of a writer. In that deleted section, Greene has added a further paragraph on the boy’s death and two long paragraphs on beginning to write The Man Within once back at School House for convalescence  – with the added detail that later in life, he had tried to rewrite the novel for a uniform edition, ‘cutting away the too literary images and the excesses of sentiment’, before giving up the attempt.

Ways of Escape A galley copy of Lester and Orpen Dennys in Canada, dated February 1980, 184

has marginal notes to Greene by Louise Dennys. There are corrections to the galley pages, some by Greene, some by another hand. A typescript has ‘S+S [Simon and Schuster] Fall ‘80’’ in pencil. There are very occasional corrections, and the title page has ‘REMEMBERING’ crossed out and ‘WAYS OF ESCAPE’ written above. Greene has written ‘The Roads of Escape’ on another typescript as an alternative title, and he has changed the epigraphs, Preface and Acknowledgements. Louise Dennys’s marginal notes suggest a reworking of the opening of the book, and the chapter structure. Dennys was a skilful and sympathetic editor, and her comments on the typescript are extensive. Greene very often accepted her suggestions, and amended accordingly. The typescript also has eighteen pages on Evelyn Waugh, only part of which survives in the published Ways of Escape, much of it included in Greene’s 1979 Listener article on Waugh. There are extensive reworkings by Greene in the typescript. There is also an undated publisher’s block with pages pasted in – from Greene’s introductions to the volumes of his Collected Edition works, his introductions to The Pleasure-Dome and to his stories and plays. Greene has added to, deleted and corrected the material, partly to provide smooth transitions between sections, and there are comments and suggestions by Dennys. Elsewhere there is additional material for Ways of Escape. These are mainly copies of published articles – sometimes typescripts, sometimes photocopies of printed articles  – which were used in compiling the book. Greene has amended

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these articles, extensively in some cases, often changing present to past tense. Two pieces have been written specifically for the autobiography; both are dated October 1979. There is a typescript draft of what became Greene’s last introduction to the Collected Edition, for The Human Factor, in 1982. The appearance of this material in Ways of Escape therefore pre-dates this. The draft has a paragraph added in Greene’s hand, making reference to Doctor Fischer of Geneva, and it appears in Ways of Escape. The second piece is entitled ‘The Abandoned’, and exists both in manuscript and as draft typescript; it covers Greene’s suppressed novels The Name of Action and Rumour at Nightfall. ‘Miscellaneous Notes’ include a copy in Greene’s hand of the Preface to Ways of Escape. Also in manuscript is a list of contents, with notes that The Fallen Idol and ‘Epitaph for a Play’ are to be omitted, and the sections on Greene as film critic and on Herbert Read and Evelyn Waugh placed differently from the published book. GRAHAM GREENE PAPERS MS 1996–05

These papers comprise correspondence from 1953 to 1990 between Greene and A. S. Frere, his longstanding publisher at William Heinemann, and friend. Six letters from Greene to Frere between 1953 and 1961 are largely social in focus, but in October 1962 comes Greene’s letter explaining his decision to leave Heinemann. Frere’s reply two weeks later expressed the hope that a parting could be avoided, but nothing was achieved. From 1962 onwards there are many letters from Greene to Frere, the personal

and social element of their relationship far more prominent than in the letters in the Charles Pick archive in the University of East Anglia covering the same period, which are business-related. A letter of May 1966 informed Frere that Greene had found ‘a really lovely little apartment’ overlooking the old port at Antibes. ‘HHK’  – ‘Happy Healthy Kitten’, Yvonne Cloetta  – is often mentioned in the correspondence, and there is a handwritten letter from Frere’s wife Pat to Cloetta in 1969. Greene’s letters and postcards have greetings to ‘Frere and Pat’, and there are some letters in reply. Greene wrote to the Daily Telegraph in 1966 in support of Frere and attacking Dwye Evans of Heinemann, in a matter involving Somerset Maugham’s writings. Greene’s last letter on file to Frere is from 1980 (Frere died in 1984), and his last letter to Pat, from Switzerland, is from December 1990. GRAHAM GREENE PAPERS MS 1997–06

This collection is divided into two series marked ‘Correspondence: Professional Management’ and ‘Printed Material: Graham Greene Productions’. Further sub-series divide these main headings. As the titles imply, these papers relate to legal and contractual information concerning the author’s work. Also included are documents concerning Dorothy Glover’s collaboration with Greene over the four children’s books, Greene’s conflict with his nephew Graham C. Greene regarding the management of Graham Greene Productions, the biographer Norman Sherry and Vivien Greene’s Dollhouse Museum Company. 185

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Boston College purchased around 3,000 books from Greene’s own library in 1995. These cover a great range of topics  – novels, short story and poetry collections, but also Percy Birtchnell’s A Short History of Berkhamsted, the Haitian Graham Greene démasqué, Dorothy Wordsworth’s Journals, Anthony Palliser’s Paintings, and books on the Stevenson lighthouses. Many are inscribed  – one by Vivien Greene, in November 1955, in her book English Dolls’ Houses of the Eighteenth and Nineteenth Centuries. Greene often marked passages in the books, and sometimes put comments on the endpapers. His 1957 copy of Malcolm Lowry’s Under the Volcano has several comments on women. The copy of Ezra Pound’s letters to James Joyce is of interest: Gillian Sutro claimed Greene had it with him constantly towards the end of his life when he needed regular blood transfusions, and that it therefore had special significance for Yvonne Cloetta. The book has page references at the back in Greene’s hand, referring to marked passages in the book, and a short poem entitled ‘Aunts’. FATHER PHILIP CARAMAN S.J. PAPERS MS 1998–030

The Burns Library at Boston College houses the Father Philip Caraman Papers. This collection includes correspondence between Greene and Caraman and Cyril Martindale, both of whom were Jesuit priests and, in the case of Caraman, a close friend. Father Philip Caraman was ordained a priest in 1945 and shortly afterwards 186

became acquainted with Greene through his work as editor of the Month which he restyled in order to appeal to a modern, post-war Catholic readership. At the time a so-called House of Writers was established immediately adjacent to the Jesuit church in Farm Street, London and Caraman became one of the ‘writers’. A personal friendship developed between author and priest and Caraman also became acquainted with Catherine Walston. According to Norman Sherry, Greene believed that Caraman was instrumental in exposing a sexual relationship between Walston and a Father Thomas Gilby, a matter which caused him to mistrust and dislike his erstwhile friend. It would appear that Caraman made the initial approach in late 1948 by which time he would have read The Heart of the Matter with its dominant Roman Catholic theme. He offered Greene the opportunity to review Evelyn Waugh’s satirical novel The Loved One and asked if he had any short stories he might wish to submit. This offer resulted in the publication of ‘The Hint of an Explanation’ after the short story had been rejected by the BBC for broadcasting on the grounds that it was likely to cause offence to too many listeners. In an early, undated letter, Greene sought to defend his writing in the face of remarks made by the critic Derek Travesi in his essay on Greene’s early novels. At the heart of Greene’s argument was his dislike of this modernist critic’s preoccupation with the psychological aspects of a literary work at the expense of what he called ‘technical criticism’. He claimed that England Made Me was intended as a ‘study of unrealised

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incestuous passion’. The constant shifting of perspective between brother and sister, the switching between past and present events were intentional, ‘to keep to the point of view of my characters’ and did not demonstrate any muddled thinking on his part. Overall, he condemned Traversi’s article as being ‘pretentious and silly, when it isn’t unpleasantly insinuating’. Although for most of the 1950s Greene sought actively to distance himself from being labelled as a Catholic writer, for a short while he seemed anxious to promote work with a suitable religious theme. He wrote to Caraman in March 1949, complimenting him on the appearance of his short story in the magazine and offering, ‘some verses I wrote last year as the result of reading Baron von Hugel’. The philosophical writings of Fredrich von Hugel were popular at the time among Catholics and the poem later published in the Month, ‘Behind the Tight Pupils’, has a mystical quality in keeping with one of von Hugel’s three basic elements of religious belief. Interestingly, it was published just once elsewhere in the private collection of verse After Two Years which Greene wrote for Catherine Walston. By 1950 it is clear that the friendship had extended beyond the use of Christian names in communications. In the course of a fairly lengthy letter in July 1950 Greene told Caraman that he was glad that it now seemed unlikely that the Daily Mail would commission him to cover the Korean War which had started a month earlier. In view of Greene’s deep, personal involvement in Vietnam and particularly the fate of the Vietnamese people he made an interesting aside, ‘The whole

thing seems much less attractive now it has become a Western war . . .’. At this stage Greene also appeared confident enough to reject some of Caraman’s books for reviewing; for example he thought The Backward Bride ‘is not my cup of tea’. In 1952 he requested to be deleted from a list of authors who had been asked to contribute to a forthcoming series of books on Catholic saints. He cited both the time needed for research and his general ignorance of the subject matter as reasons not to participate in the project; Greene stated that his original offer had been to contribute a single essay and he would rather keep to that. It seems that his adulterous relationship with their mutual acquaintance Catherine Walston could also be referred to openly by this time: Greene thanked Caraman for a book about St. Thomas which had been delivered by Catherine and later the couple sent joint postcards from abroad. He made a frank reference to the affair in a postscript to a letter in September 1951, ‘Thank you for your other messages. I don’t believe that my relationship with C. is wrong and I don’t believe that we shall be cut off for ever.’ The increasing confidence in the relationship between writer and priest/ editor is further evident in 1952 when there was an exchange of views and some differences expressed over what should or should not be included in an extract from Greene’s journal of the London Blitz which was ultimately published in the Month as ‘The Londoners: Notes from a Journal of the Blitz, 1940–41’ in November of that year. This matter was resolved amicably. However, Greene was 187

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less impressed by his friend’s reaction to his short story ‘Special Duties’. He accused Caraman of taking a ‘slightly pompous’ stance about the story in which the wealthy central character uses his secretary to obtain Indulgences on his behalf so that in the afterlife he will have to spend less time in Purgatory. On the other hand, a year later in 1955, he fully understood why Caraman could not use the story ‘Church Militant’ as the Archbishop ‘really is a bit too identifiable’. Greene made use of Philip Caraman’s role as a priest on more than one occasion both as a source of information about doctrine and in making requests for Masses to be said for both friends and relatives. He asked Caraman, in a letter in 1956, for the correct wording for Conditional Absolution from sins in the case of a murderer. This request was made on behalf of Paul Scofield who was preparing to play the lead role in the stage adaptation of The Power and the Glory. Ironically, without revealing his personal connections, Greene requested Caraman to say Masses for a friend of Jocelyn Rickards and for the husband of Anita Björk. Not only were both Rickards and Björk Greene’s lovers but in both cases the Masses were being said for people who had committed suicide. He felt comforted by the fact that Caraman was present when their mutual friend Evelyn Waugh died. On an intently personal level, Greene wrote on 22 September 1959, the night he heard that his mother had died, asking for some Masses to be said for the repose of her soul, adding poignantly, ‘I feel there are few people who need them less, but all the same . . .’. 188

This collection of correspondence which was composed on a very regular basis from 1948 ends quite abruptly in 1969 and resumes only briefly in 1974–5. The majority of the later communications are mere messages of thanks and all but one is signed on Greene’s behalf by one of his secretaries. Therefore one presumes that the issue concerning Catherine Walston referred to above occurred at some point after 1970.

Father C. C. Martindale S. J. Father C. C. (Cyril Charlie) Martindale was an intellectual Jesuit priest known to both Graham and Vivien Greene. He was instrumental in persuading Vivien not to seek a divorce when the couple separated following Graham’s revelation of his affair with Catherine Walston, believing Greene to be intrinsically a good man. However, this small collection of letters mostly concern Greene’s views on writers and their work and comments about his own novels. Martindale was particularly interested in The Heart of the Matter considering Greene’s grasp of theology to be very sound. In an undated letter, in reply to what must have been Martindale’s first communication with him, Greene stated that personally he was neither as evil as Pinkie in Brighton Rock nor as kind and selfless as Scobie in The Heart of the Matter. He remarked that he would like to meet Martindale, but neatly deflected the priest’s ‘offer of service’, most likely the sacrament of Confession. Presumably referring to his separation from Vivien, Greene wrote that he would rather hear about Martindale’s retreats in Dublin than talk about himself.

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In another undated letter he defended the writing of Ford Madox Ford who he ‘unregeneratedly loves’ for his technical skills as a writer. He thought that The Confidential Agent was ‘a bad book’ and in explaining how he came to complete the work in just six weeks while he was also writing The Power and the Glory, he disclosed that he had deliberately imitated Ford’s style. A third letter, this time written by Greene from Venice on 14 October, in what one can deduce from the content was 1950, is both rambling and sardonically self-critical in tone. He claimed that he did not like his own novels, ‘they’ve been wildly overpraised, and anyway if there is any merit in them, what the hell, the credit’s not mine’. He told Martindale he had finished another novel, The End of the Affair. He claimed it was not good but supposed he would have to publish it, otherwise he would be forced to write the screenplay of another film, a task which he detested. He also promised to send his ‘magnum opus’ to Martindale soon, a book suitable for six-year-old children called The Little Fire Engine. He ended by apologizing for having written ‘a silly, inadequate reply’ to the priest’s kind and encouraging words.

Cambridge, Massachusetts HARVARD UNIVERSITY VICTORIA OCAMPO

Little has been written about Greene’s long acquaintance and friendship with the Argentinian intellectual, writer and publisher Victoria Ocampo to whom

he dedicated The Honorary Consul. Therefore it is perhaps surprising that Greene, in a tribute written in 1982, counted her as one of his four best friends. They had met first in 1938 and later Ocampo published some of his works in the South American journal Sur which she had founded and edited and also translated his plays into Spanish. The earliest letter in the very large collection of correspondence is dated November 1946. It typifies the businesslike nature of the early phase of their relationship when Greene was working for Eyre & Spottiswoode. The subject matter is almost entirely devoted to an exchange of information about other authors who might be approached with a view to publishing their work. Greene suggested Mervyn Peake as a ‘succès d’estime’ because he knew that Ocampo was uninterested in popularity. He described Peake as having ‘a queer talent with, I think, a streak of genius’. Although the early letters remained formal in tone, Greene gradually introduced some personal information. He explained a change of address by informing Ocampo of his separation from Vivien. In 1951 he asked her to obtain for him a small mantilla for wearing at Mass and later thanked Ocampo for the gift of her own grandmother’s garment which he intended to present to Catherine Walston when they next met. He regularly commented on the progress of his own writings. For example in 1954 he told Ocampo that he had not written anything on The Quiet American for over two years and was unsure whether or not he would ever finish the novel. Instead he had completed ‘a sentimental 189

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comedy’ called Loser Takes All with the film market firmly in mind. The same year he wrote ‘Dear Victoria’ for the first time, adding, ‘Surely we can be on Christian name terms by this time!’ The following year Greene felt confident enough in his relationship to broach the difficult and potentially embarrassing subject of who should publish his work in Argentina. Although he was tempted to use Sur exclusively he felt loyalty to Emece who had published the majority of his novels thus far and had just completed a collected edition. By 1957 the content of a typical letter from Greene had changed considerably. He wrote in August with concern about Ocampo’s family worries. He sympathized with her regarding Spanish Catholicism adding ‘but really in almost every country one finds oneself resenting the catholicism – perhaps in Italy less than in other places where it remains on one level simple and superstitious and on the other is at least amusing in its intrigues’. He was prepared to write a short statement for Ocampo on the banning of the novel Lolita, ‘I hate writing these lines about books, but my affection for you forces me to!’ He told her he was planning to visit Brazil and its new capital Brasilia but regretted that even though he would be closer to her geographically he would still be several thousand miles away. Greene frequently remarked that he would love to visit Ocampo at her home. In 1962 she invited him to the opening of the Colloque de Buenos Aires. Greene was at pains to explain that he was ‘a dead loss for any conference of this kind’, adding, ‘I think only with a pen in the hand and I have very few ideas on such 190

great abstractions as society and culture’. In the event it was a further six years before Greene was able to pay a visit to Buenos Aires. On his return to Paris he wrote that although he disliked the capital city, ‘. . . I loved San Isidro, the house, the garden, the gnomes peering round doors and the letters from you on my breakfast tray’. He returned two years later this time with a specific purpose, ‘My plans for a new novel are beginning to crystallize.’ Clearly he was intending to research the setting for The Honorary Consul; he mentioned in the same letter his intention to visit Parana and Santa Fé. Once again he appeared captivated by his experience, ‘.  .  . how I loved the days at Mar del Plata, the walks and the evening cinema and Abalina talking to me severely in Spanish.’ Ocampo’s connections with other South American writers and intellectuals enabled Greene to visit Chile in 1971 and to meet Pablo Neruda. Although he admitted to ‘a strong feeling that I won’t like him’ in the outcome to his ‘astonishment’ he found himself warming to the poet although he cautioned, ‘Perhaps he was showing his best side.’ Neruda, in turn, introduced Greene to President Salvador Allende. Allende personally arranged for the writer to visit two contrasting parts of the country, took him by helicopter to a rodeo and demanded a private interview at the end of Greene’s visit in order to hear his impressions of Chile. It was customary for Greene to feel bereft after completing a major novel. This was certainly the case following the publication of The Honorary Consul in 1973. The following year he told Ocampo

Louisville, Kentucky

that he had no ideas even for a new play, ‘So much less exhausting than a novel’ and speculated gloomily, ‘Perhaps I am at the end of the road’. Two years later he was in a similarly depressed state. He wrote that he was ‘getting towards the end of a rather unsatisfactory book’, The Human Factor, which he was unsure whether or not to offer for publication. The last letter Greene wrote to his friend, two months before Ocampo’s death in January 1979, sounded a valedictory note. He had not heard from her for a long time and was anxious for news. He had nothing of worth to impart himself. In the final paragraph he wrote poignantly, ‘More and more my mind goes back to South America even in my dreams.’

Louisville, Kentucky UNIVERSITY OF LOUISVILLE GRAHAM GREENE COLLECTION

The collection was compiled by Robert H. Miller professor of English and author of Graham Greene: A Descriptive Catalog and Understanding Graham Greene. In addition to rare first editions, the collection includes among other items correspondence from the period when Greene was co-editor of the magazine Night and Day, an unpublished autobiographical fragment and a number of letters from Greene to the missionary priest Father John Medcalf. There are fourteen letters dated May to November 1937, mostly from Greene to contributors to Night and Day. The majority are from Denys Kilham-Roberts and relate to articles he was commissioned

to write about the Goodwood and Doncaster race meetings. Greene’s mother-in-law Muriel Dayrell-Browning died quite suddenly in May 1933. Vivien was pregnant at the time and quite unwell. Greene was deeply concerned that the journey from Swansea to London, where they were on holiday, would be unadvisable. The local doctor they consulted agreed that the travelling, together with the stress of the occasion, would make her too sick to attend the funeral. Greene imparted this information in a letter of explanation to Robert GreenArmytage, Vivien’s ‘Uncle Bob’, which is included in this collection. The writer was careful to emphasize his overriding concern was for Vivien’s health and that his actions had nothing to do with the fact that ‘her mother and I did not care for each other’. Three of the four letters to Robert Miller concern his ‘Catalog’ of Greene’s work which was published in 1979. In his first letter, Greene regretted that Miller had managed to obtain his two ‘suppressed’ novels, Rumour at Nightfall and The Name of Action, and was ‘even more sorry’ that he had secured a copy of Babbling April. He would not divulge any information about the books of verse, After Two Years and For Christmas, which he described as having ‘never been for sale and are purely private’. Greene was appreciative of the gifts of both of Miller’s books about him. He described Understanding Graham Greene as a ‘very kind’ book. John Medcalf was a Catholic priest who fairly unusually served lengthy spells in parishes both in the United Kingdom and in Peru, Nicaragua and El Salvador. 191

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His work among the Latin American poor and his sympathies with Liberation Theology provided the common ground which led to his friendship and correspondence with Greene during the 1980s. Greene wrote the introduction to Medcalf’s book of letters A Parish at War which described his experiences in rural Nicaragua during the Contra rebel offensive. There are twenty letters written by Greene to Medcalf during a four-year period, 1984–8. In the early letters Greene tried to avoid becoming directly involved with Father Medcalf’s work for the European Commission for Human Rights in Peru although he agreed to accept the post of honorary commission member. He wrote later, ‘If it helps you to call me a Patron call me a Patron!’ However, he declined the invitation to travel to Peru for a conference citing his advanced age and other commitments. The draft of a message of solidarity prepared for the conference, which Medcalf wrote and Greene edited, is included in these papers. Father Medcalf moved to Nicaragua in 1986 at a time when Greene was still regularly visiting Panama. However, despite his efforts to visit the country and to meet Medcalf in his parish, he was thwarted by the authorities who advised that such a trip would be too dangerous. When the priest left his parish in February 1988 he told Greene that he planned to retrace the writer’s footsteps across neighbouring Mexico. Greene wished he could accompany Medcalf but, on the other hand, did not think that he would like to see the changes which had happened in a country he had visited 192

fifty years previously. The last few letters concern a hotel in Yajalon which Medcalf visited during his time in Mexico. Greene’s recollection of sleeping on the floor in the company of a rat seemed at odds with Medcalf’s description. In the end the writer conceded, ‘Or was it another village?’ The nineteen-page holograph, which has been given the title ‘Airports’, is what remains of Greene’s early attempt at writing his autobiography as a series of recollections which used the memory of a particular airport as the starting point. Presumably the author’s incessant travelling and his love of flying provided the logic behind this approach. There are five ‘chapters’ together with a preface. All but one, which is unfinished, has been given a title. ‘Oxford’ for example, begins with the writer’s first experience of flying and then develops into a series of memories of his university years and the people he knew. ‘Croydon’ commences with a wonderful evocation of flying by Imperial Airways to Paris in the interwar period. ‘Has there ever been a more comfortable plane’, Greene asks even though there was inevitably the ‘bumpy’ approach and departure from Croydon caused by air pockets over the Surrey Hills. This vignette develops into recollections of Greene’s time living in London with the psychoanalyst Kenneth Richmond and his wife following his mental breakdown, most of which is recounted in A Sort of Life. Likewsie, the chapter entitled ‘San Juan’, an account of being deported from Puerto Rico in the 1950s, appeared later in print. All of the holograph chapters are quite heavily annotated by the writer, none more

New Haven, Connecticut

so than the last, an untitled piece which commences with Greene describing how when he first read the works of R. K. Narayan he was writing It’s a Battlefield. He draws parallels between their common experiences of trying to convey a sense of ‘place’  – in Narayan’s case Malgudi, in Greene’s, London. Greene starts to widen this discussion to include other writers but then crosses out almost an entire foolscap page and at that point appears to abandon both the specific narrative and this particular approach to autobiography.

New Haven, Connecticut YALE UNIVERSITY NORMAN DOUGLAS COLLECTION

Greene’s seven letters to Douglas in 1951 mainly concern the publication of the latter’s book Venus in the Kitchen, a collection of aphrodisiac recipes. Greene arranged for its publication by Heinemann, and offered to write an introduction. The book, with Greene’s introduction, was published in 1952. Greene’s letters are friendly and helpful. Greene’s four letters to Kenneth Macpherson in 1954 concern his review of Pinorman, Aldington’s book on Douglas. He sent Macpherson a copy of the review, but told him the lawyers had refused to allow it to be printed and warned him against circulating it in case an action for libel was brought. R. P. WARREN PAPERS

Warren was an American writer and critic. There are ten letters to him from Greene at Eyre & Spottiswoode

between 1944 and 1947, and one from 1954. Greene wrote in admiration of Warren’s novels, including Night Rider and Heaven’s Gate, his poetry and short stories, and arranged for the publication of several of them  – some by Eyre & Spottiswoode, some by others. In 1954 he wrote in praise of Warren’s Brothers to Dragons. REBECCA WEST PAPERS

Greene wrote four letters in May and June 1940 from the Ministry of Information in London about a pamphlet Rebecca West had agreed to write. The subject was not specified, but in his last letter Greene suggested that Miss West might also write a short leaflet on the oppression of literature in Germany.

New York COLUMBIA UNIVERSITY DOROTHY CRAIGIE PAPERS

Victorian Detective Fiction: A Catalogue of the Collection Made by Dorothy Glover and Graham Greene was published in 1966. The catalogue was bibliographically arranged by Eric Osborne. Twenty letters between Greene and Osborne, from 1964 1965, cover many of the issues involved in putting the book together. Greene discussed which titles should be included (making a case for Nicholas Nickleby) and added to his own collection in the process. Greene suggested that Osborne might meet Dorothy Glover  – ‘I expect a lot of the work will be done over pints of bitter.’ He discussed deadlines for completion of the work, and expressed 193

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admiration for Osborne’s labours: ‘What a life a bibliographer’s must be!’ There is also a set of galley proofs of the book from 1966, with notes and revisions by Greene. GRAHAM GREENE LETTERS

Mercia Ryhiner Schwob Tinker Harrison was married to Peter Ryhiner when she first met Greene in the Far East, around 1953. Following a divorce she was then married to Robert Schwob from 1959 to 1974; she became the sixth wife of the actor Rex Harrison in 1978 and remained so until his death in 1990. Greene’s relationship with her is not mentioned by her biographers Sherry or Shelden, or in Richard Greene’s collection of letters. The importance of the relationship is reflected in the extent of the correspondence, with well over 100 letters, postcards and telegrams in the Columbia files, from 1954 to 1990. The letters begin in January 1954, and the early ones  – almost always handwritten, often long – reveal an intense passion. The two had been together in Bangkok, Penang and Singapore, and Greene wrote of his longing to see her again. In April 1954 he referred to ‘those three weeks’ they had been together, but also commented on the quarrels they’d had, and his being ‘tired, worried and irritable’. In October he wrote from Rome of the only two people he loved – ‘you and Catherine’  – and remembered the places they had visited, including ‘the opium place in Bangkok’ and ‘the snake temple in Penang’. Greene was constantly on his travels, but longed to meet Mercia again; they missed each other in transit a 194

number of times, but seem to have met again in Geneva in 1956. Mercia lived in Switzerland. The passion subsided, but the two continued to write to each other regularly. He kept her in touch with his travels and his work. He commiserated when she was having problems, and wished her happiness; in 1958, when she hesitated over whether to remarry, Greene commented on his own situation: ‘2½ years I’ve been hesitating over Sweden and now that I’m plunging I am still uncertain.’ This is an oblique reference to his then current relationship with Anita Björk. In 1961 he arranged for Mercia to stay at his villa at Anacapri, in his absence. In a letter in June 1963 Greene commented in detail on a novel Mercia had written, stating that its romance was not to his taste and offering advice on style in writing about love: ‘the colder and the more detached your writing is the more warmth it can convey to a reader.’ Mercia sent annual birthday greetings to Greene, and he thanked her in reply. In 1969 he enlisted her help in finding accommodation in Switzerland for his daughter Caroline and her children, after the break-up of Caroline’s marriage, and thanked Mercia for helping his daughter to settle. In 1977 Greene told Mercia of Norman Sherry’s work on his biography, and advised her to see him or not, as she wished, ‘and tell him only what you wish’. He congratulated her on her marriage to Rex Harrison, and tried to help her in travels to Scotland and Ireland. Greene’s last letter, in September 1990, followed a meeting between the two ‘after so long’.

New York HOUSE OF BOOKS LTD. RECORDS

There are forty letters from Greene to the second-hand book dealer and friend David Low, dating from 1971 to 1981. Greene wrote an introduction to Low’s memoirs, With All Faults, in 1973, and their bibliographic correspondence, Dear David, Dear Graham, appeared in 1989. In the first letter, in January 1971, Greene remembered their shared background on duty during the blitz in London – ‘those long night trudges from the warden’s post in Gower Street’. A few months later he remonstrated with Low: ‘you insult me when you suggest that I was ever in M.I.5. I’ve never spied on my own countrymen’. The tone of the correspondence suggests a warm friendship, and they met from time to time. Greene wrote often of books he was seeking – like those on the lighthouse Stevensons  – and those he did not want: ‘Shaw Desmond is not my cup-of-tea’. He showed himself to be pernickety about his detective book collection  – ‘strictly limited to the Victorian age and 1901 is the last date I admit’ – and aware of value for money – ‘I can hardly bear to read the prices in these catalogues.’ He introduced his nephew Nicholas Dennys, just entering the book business, to Low, and reminisced about the old days when he too had an ambition to be a second-hand bookseller. MORGAN LIBRARY AND MUSEUM GRAHAM GREENE LETTERS TO HERBERT GREENE

Herbert Greene was Graham’s eldest brother, a man without a steady career,

generally thought to have been the model for Anthony Farrant in his 1935 novel England Made Me. The overwhelming majority of Graham’s letters at the Morgan Library are from the period 1945 to 1955, with one or two from the late 1920s and a handful from the 1930s. They are often very short and mostly typewritten. The tone is generally friendly and warm, with greetings sent to Herbert and his wife Audrey, and occasionally Graham had cause to congratulate his brother – as he did in the late 1930s when Herbert’s book Secret Agent in Spain was published. But often Graham showed a degree of irritation or exasperation with Herbert. Legal and financial matters often loom large in the correspondence, with mentions of solicitors, wills, death duties, a trust, income tax, a deed of covenant. Graham often responded to the latest scheme of his brother: ‘You’ll be a headmaster yet!’ (late 1930s?); ‘I hope something comes of the Travel Company’ (1949); ‘I really don’t feel inclined to go into the antique business’ (1951); ‘even if I had available capital I would not put it into a small publishing firm’ (1955). Some of the longest letters concern the sorting out of legal or financial matters, and Graham often sent or promised cheques. Graham received eggs, vegetables and an occasional rabbit from Herbert’s garden in Sussex, and once, in 1952, sent Herbert some cast-off pants and vests. The brothers seem to have met occasionally, although Graham’s travels often prevented this. On occasions, Graham Greene’s professional life was mentioned  – he obtained tickets for 195

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Herbert to see The Living Room in 1953, and in December 1954 wrote that ‘I have given up the idea of writing about R.L.S. [Stevenson]’. NEW YORK PUBLIC LIBRARY EDWARD HOWARD MARSH COLLECTION OF PAPERS

There are two letters from Greene. One during his time at Oxford asked if his work could be considered for an anthology of Georgian poetry, and one from 1946 thanked Marsh for a translation he had done. VLADIMIR NABOKOV PAPERS

There are four letters from Greene and one from his secretary, 1957–9; they concern the fuss over Nabokov’s book Lolita, which Greene described as ‘superb’; Greene also thanked Nabokov for an inscribed copy of the book. JULIAN SYMONS COLLECTION OF PAPERS

There are two letters from Greene to the writer Symons, and one to Mrs G. Hogarth, all from 1946. They concern Symons’ biography of his brother, and its nomination for a Houghton Mifflin Fellowship.

Princeton, New Jersey PRINCETON UNIVERSITY VARIOUS COLLECTIONS

Princeton collections 196

University has four which contain varying

amounts of correspondence to or from Greene plus another which includes an unpublished telediphone interview with the writer. Jorge Edwards is a Chilean writer and journalist who Greene admired greatly, particularly for his honest description of Fidel Castro in Persona Non Grata: An Envoy in Castro’s Cuba. He encouraged him to have the book translated and published by the Bodley Head. In a letter dated January 1977 Greene thanked Edwards for his copy and for the personal dedication. He was similarly encouraging regarding Edwards’ plans to write about Pablo Neruda and actively supported the writer’s application for a Guggenheim Fellowship which would enable him to pursue the project. Greene had to decline Edwards’ suggestion in 1979 that he might visit him in Santiago stating that his 1974 article in praise of Salvador Allende meant that it was doubtful that he would be welcomed by the Pinochet dictatorship. The vast majority of the relevant Allen Tate Papers relate to correspondence dated 1945–6 when Greene worked for Eyre & Spottiswoode and concern the publication of Tate’s Poems 1920– 45: A Selection. Greene was friendly and sympathetic, especially when the shortage of paper in post-war Britain meant that publication was delayed by nearly two years. In January 1947, in the midst of the harshest of winters and an acute coal shortage which affected paper production, Greene wrote that he could not give a firm publication date until the volume actually reached the book binders and even then it might be further delayed. The correspondence continued

San Marino, California

after Greene left Eyre & Spottiswoode and the letters concern plans to meet socially.

San Marino, California HUNTINGTON LIBRARY ELIZABETH BOWEN PAPERS

There are two letters from Greene to his fellow-writer, both from Eyre & Spottiswoode. In 1945, Greene asked if she would write an introduction to Antonia White’s Frost in May for the Century Library, and whether Bowen’s To the North could be included in the same series. In 1946, he sent her a copy of a book illustrated by Mervyn Peake. CHRISTOPHER ISHERWOOD PAPERS

Two letters from Greene to his distant cousin, from perhaps 1945, and 1964, both congratulate Isherwood on his latest novel.

Spokane, Washington GONZAGA UNIVERSITY THE REVEREND ANTHONY D. BISCHOFF S.J. COLLECTION

The Jesuit priest Anthony Bischoff was an academic who made a lifelong study of the works of the poet Gerard Manley Hopkins. He was introduced to Greene around 1949 and they continued to correspond regularly until 1991. This collection comprises some thirty-seven letters, postcards and telegrams many in the form of seasonal greetings and short exchanges about arrangements to meet –

which unfortunately rarely happened. In several letters Greene makes interesting and pertinent remarks about his life and his work to a person who he clearly trusted. An early letter to Bischoff in October 1949 is typical of many that follow. He complained about the amount of time he had had to devote over the past several weeks to the play script of The Heart of the Matter. However, the task was now complete and although quite pleased with the outcome it left him feeling indifferent as to play’s eventual reception. Greene was also at pains to establish that he was a poor letter writer, a claim he repeated on numerous occasions in the coming years. He also assured Bischoff that he could write to him ‘candidly’ although he advised him to mark such letters ‘personal’. He referred to their frequent meetings during the time Bischoff had spent at the Farm Street Jesuit Church in Mayfair. Father Bischoff by that time had been appointed to a teaching post at Gonzaga University. The tone of Greene’s letters over the next few years was frequently tinged with pessimism and a sense of inadequacy which matched his often depressed state of mind at the time. He described his own letters as ‘dull and lifeless’; he was ‘doubtful’ about his new novel The End of the Affair. Even a comment on a visit to Indo-China and Malaya drew the humorously cynical aside ‘but nobody used a silver bullet on me’. Despite his own preoccupations, Greene was nevertheless sensitive to the well-being of his friend. He wished those in authority 197

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would transfer Bischoff to the East Coast. Although in 1968 he was relieved to hear that the priest was in Washington DC, two years later he asked, ‘What have you done against the Society [the Jesuits] that they should keep you in exile so long at Spokane.’ In 1987 he told Bischoff that he found it hard to bear the thought of him ‘stuck in Spokane among the retired and sickly’. In another letter he commiserated over Bischoff’s failure to get his life work on Hopkins published. Greene remembered this setback and over twenty years later expressed his regret that Bischoff’s work on the poet never went further. In the early letters he commented frequently on his friendship with their mutual acquaintance Father Philip Caraman S. J. but by contrast in 1989 the priest had become the target of Greene’s opprobrium. He preferred ‘to forget anything in which Father Caraman is concerned. To me he is a horror’. In the same letter the writer warned him about the untrustworthiness of Anthony Burgess: ‘Burgess is given to the most astonishing lies.’ In Greene’s last letter, written less than two months before he died, he asked the priest to remember him in his prayers  – a request he had made on numerous occasions throughout their acquaintance.

Stanford, California STANFORD UNIVERSITY THE EDITH SOREL (GOMBOS) PAPERS

Edith Gombos, who used Sorel as a professional pseudonym, was a journalist

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for the Cuban paper Revolución in the 1960s and thereafter worked as a freelance interviewer. This collection comprises twenty-eight letters from Greene written in the period 1966–71. Only half the number are year dated. The letters principally concern their work, mutual acquaintances, Latin American politics, exchanges of contact details and usually futile attempts to meet. Greene was commissioned by the Daily Telegraph Magazine to pay a return visit to Cuba in 1966 and managed to interview Fidel Castro. He mentioned the visit in several letters; in one he told Sorel that he had had a ‘wonderful time’, averaging four hours of sleep a night. When he was in the early stages of planning The Honorary Consul he asked Sorel if she had any contacts who might know about Paraguay as ‘I want to use the place for a chapter in a novel’. His experiences in Israel in 1967 during the Six-Day War had left him with mixed feelings which he expressed in a letter in February 1968. He thought Tel Aviv ‘not the most gay place though there were more pretty girls in the street and one ate much better’. On reflection, although he had felt on leaving that he never wanted to see the Wailing Wall or the Sea of Galilee again, now he felt the country ‘calling’ to him again. He ended an untypically rambling letter by stating that in old age he always thought twice about travelling abroad unless he was being paid, ‘I feel mean, like a man who won’t go out to dinner at the restaurant because he’s en pension at his hotel.’

Tulsa, Oklahoma

Tulsa, Oklahoma UNIVERSITY OF TULSA GRAHAM GREENE PAPERS

This collection comprises some of the private papers of Vivien Greene. They are of considerable interest and importance and predominantly relate to the aftermath of her husband’s announcement in late 1947 that he was leaving her as a consequence of his affair with Catherine Walston. There is correspondence between Greene and Vivien, letters from Graham’s mother and aunt to Vivien, correspondence between Vivien and Dorothy Glover and communications from Vivien’s solicitors. However, as most of the contents of this archive are outside the parameters of this book, being correspondence between third parties, they have been omitted from this section but are summarized in full in the Listings. Judging by the subject matter, five of the seven undated letters written by Greene to Vivien appear to date from 1949. The other two were written in 1963. The earlier batch included accounts of Greene’s travels, issues such as the sale of their house in Oxford and sensitive matters regarding their children. In a letter which Vivien had marked ‘arrived March 19 1949’ Greene responded to his wife’s adverse reaction to his plans to take the children on a holiday to Italy. He hoped that ‘now all the legal flummery is over’ they might be able to correspond with each other ‘more nicely’. After answering other accusations she had made, Greene wrote that he was ‘anxious not to hurt you any more’ but wanted her reaction to two questions

regarding his future relationship with their children. Did she want him to stop bringing them presents from his travels and should he stop writing to Francis about where he had been and what he had been doing? The remaining two letters are both dated 1963. In the first Greene asked Vivien if she had any of his original manuscripts. He knew she possessed The Name of Action and thought she might also have The Heart of the Matter. The request was made in connection with the sale of Greene’s manuscripts in 1964. A single letter dating from what Vivien termed ‘the engagement period’ is also included in this collection. Written midweek, probably in 1927, Greene was longing for the weekend when they could be together. He told her what he had been doing and assured her that the tip of his nose was sore as a result of ‘keeping it at the grindstone’.

Washington, DC UNIVERSITY OF GEORGETOWN

The extensive Graham Greene material at Georgetown is not gathered together into a single collection, but included in a whole series of separate collections. These are presented below and in Part 2 in an order beginning with the Graham Greene Papers and Graham Greene Papers 2, followed by the major Catherine Walston Collection, then by the remaining collections in alphabetical order. THE GRAHAM GREENE PAPERS

The extensive Graham Greene Papers are divided into four parts. First, the author’s

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diaries and journals covering the years 1950–80; secondly, manuscripts with accompanying notes and galley proofs relating to some of his major works; thirdly, shorter manuscripts mostly in manuscript form which include book introductions, speeches, essays, letters to newspapers plus miscellaneous writing, only some of which was later published. The last section comprises correspondence with John Hayward, Edith Sitwell, Evelyn Waugh and Antonia White.

Diaries and Journals This unique and invaluable collection of original material covers Greene’s journeys over a 26-year period from 1951 to 1977 encompassing in approximate chronological order: Vietnam, Cuba, the United States, Malaya, Kenya, Haiti, Poland, Israel, Sierra Leone, Eastern Europe, Argentina, Uruguay, Paraguay, South Africa, and Panama. They record a variety of events and experiences, the people he encountered, where he travelled as well as his inner thoughts and feelings. Greene also used the journals to note the books he had been reading and the many letters he wrote – for instance two or three to Catherine Walston alone on a single day. His travels in the 1950s are written on pages crudely torn from desk diaries or exercise books. The 1953 Kenya Journal, for example, has been so roughly pulled from its binding that most of the pages are badly torn. By the time of his last two visits to Panama a greater degree of care was shown. The 1976 diary is written in an orange reporter’s notebook and carries the dedication, ‘These and other diaries

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with my love to Yvonne [Cloetta] to show what I was up to in those periods of separation’. Greene’s four visits to Vietnam provided the background experience he required to write The Quiet American as well as several magazines articles. He entered the country in January 1951 from Malaya and the tone of his diary changed within days. Prior to that he was frequently feeling depressed, worried about receiving so few letters from Walston and drinking too much. He was immediately struck by the atmosphere in Saigon, then in the midst of the First Indo-China War, which he described as ‘gaiety in spite of grenades’. A trip to the Caodaist capital in Tây Ninh Province, a particularly bumpy ride back to the capital and then visits to both French officers’ and other ranks’ brothels provided enough stimulus for his writing as well as an eagerness to return. He left in February 1951 but was back in the country the following October, this time for nearly four months. This time the dates in his journal up until the end of the year have been handwritten by Walston and include a scattering of quotations as page headers. Early on in the visit he complained of depression, of missing Catherine, of feeling alone. However, within a month the excitement of living in a war zone, the beauty of the countryside and the attractiveness of the people began to feature prominently in his writings. While accompanying a bombing mission he noted ‘the slow diagonal drift of the bomb’. On another flight he observed the ‘extraordinary rose light on the mountains and gold on paddy fields’. A prostitute he procured

Washington, DC

after a heavy drinking session and a visit to a fumerie with a member of the French police, was ‘very sweet, young and pretty. Small shynesses. Words like birdsong in little trills’. By the time of the author’s third visit in January 1954, the war had intensified and the 22-page diary records that Greene was immediately drawn into the political turmoil which five months later would culminate in the decisive French defeat at Dien Bien Phu and the humiliating surrender of its besieged troops. A long entry for 8 January described a flight north to Nam Dinh. He wrote in detail about the impact of war on innocent lives in the Phat Diem region including the sight of a dead child in a ditch beside its mother, the fatal bullet wounds which killed them incongruously neat. This particular incident clearly made a profound impression on Greene as it found its way into both The Quiet American and his autobiography Ways of Escape. The 1956 journal is another crude affair, some forty-six pages in length, written on unlined A5 paper, stained brown in places by glue used to attach pictures which had been added by Walston, including a small photograph of herself. By the time of this visit, the war was over and Greene had time on his hands as he waited for a visa to visit Hanoi and, he hoped, a meeting with the communist leader Ho Chi Minh. He was in a poor mental state; he remained obsessed with Walston, fretting about her lack of communication. His opium consumption had increased, likewise his daily dependence on alcohol. He decided to address this issue in an entry dated 25 February, ‘keeping my drinking down to

one whisky and one gin per day and no wine’. He managed to keep to this regime for just two days. Greene’s first visit to Cuba in 1954 was unplanned following a bureaucratic muddle regarding visas which is explained in Ways of Escape. As in Saigon, he found himself drawn to the louche charms of Havana. On arrival he was immediately offered cocaine and marijuana, the services of two girls and a boy, blue films etc. This brief three-day experience was enough to persuade him to return which he did in November 1957 while in the process of writing Our Man in Havana. His week-long journal differs from others he wrote during this period and originally may well have been intended for publication. Composed on four sheets of foolscap it includes a separate title page headed ‘Havana Journal (while writing Our Man in Havana  – but interrupted) 1957’. His use of travel as a means of escape from the complications of his personal life is evident in the very first entry where he described himself rather dramatically as ‘running from myself, and my chaos and my loss’. Although he found everyday life in Havana largely unchanged from his previous visit, guerrilla activity in the capital was becoming a more frequent occurrence. He was told by the British Ambassador of an attack on the presidential palace the previous year in which the rebels had nearly succeeded in killing President Batista. Later he noted that while watching a show at the Shanghai Theatre some sixty bombs had exploded in the city which he had been unaware of. 201

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Although the diary largely records his leisure activities and his acute and sometimes cruel observations of the mostly American tourists in the city, he also noted progress made with his novel. On 12 November he wrote that he was ‘temporarily cheered by doing 900 words’ and that ‘Milly, the daughter comes unexpectedly to life as a result of seeing her model at Mass yesterday’. The entries end abruptly and the journal does not include Greene’s subsequent journey by plane to Santiago de Cuba where he hoped to make contact with the rebel leader Fidel Castro. Greene’s travels in the 1960s and 1970s are generally distinguished by being shorter and often specifically focused on gathering information for a future project. Thus a journey from Montreux to the Bulgarian border on the Orient Express in 1968 served to inform Travels with My Aunt, visits to Argentina and Paraguay provided background details for The Honorary Consul. The two Panama Diaries, recording just two of the author’s six visits to the country, include notes for a novel he never completed although Greene used his experiences to write his memoir Getting to Know the General: The Story of an Involvement and the short story, ‘On the Way Back’. The exception to this pattern is to be found in his account of a trip to Israel in 1967 which coincided with that country’s war with Egypt. After an uneventful time sightseeing in Jerusalem and Bethlehem, Greene found himself sheltering from uncomfortably accurate mortar fire in the Sinai Desert. He noted that he and his companion ‘hesitated too 202

long and the shelling increased’. In the end the 63-year-old author was forced to make ‘a fifty yard exposed run’ to safety.

Manuscripts This section of the collection comprises a variety of published works completed during a comparatively short period in the early 1980s and relate to the novel Monsignor Quixote, the essay J’Accuse, a play For Whom the Bell Chimes and Getting to Know the General. This section also includes the typescript of the English translation of Marie-Françoise Allain’s book-length series of interviews The Other Man: Conversations with Graham Greene which is heavily annotated by Greene. Finally, there is a ‘mimeographed’ typed manuscript for the novel The Tenth Man. The extensive set of draft manuscripts, notes and galley proofs for Monsignor Quixote includes correspondence with Father Leopoldo Durán referred to in the section on his papers. The Georgetown archive has the first chapter as printed in the Tablet in 1978, which Greene used as the basis for the novel’s first chapter: his amendments for the novel include ‘Excellency’ for ‘Grace’. This chapter is followed by Greene’s holograph manuscript of the novel, starting at chapter 2, with some revisions and with an end date ‘Antibes Dec 11. ‘81’.The first typescript version of the novel has handwritten notations, corrections and additions. Chapter  2 is dated November 1980, Chapter  3, January 1981. The second typed draft, marked ‘1st draft from Bodley Head’, has very occasional

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amendments and corrections and the addition of the novel’s epigraph from Shakespeare in Greene’s hand. It is dated January 1982, and there is a photocopy of this draft with further corrections, and galley proofs of the novel. Two further folders give an insight into the preparation of the book. A manila envelope marked ‘Notes for Monsignor Quixote’ in Greene’s hand accompanies twenty-seven handwritten and three typed notes  – snatches of dialogue, factual notes. There are ideas for the ending: ‘The End. My God  – he doesn’t die. The Mayor dies. Fr.Q excommunicated says Mass in private, in the Trappist church, every day for the Mayor and Marx.’ Many of the notes are on scraps of A4 paper; one on a postcard and one, on notepaper from the Royal Albion Hotel, Brighton, mentions the possibility of an epilogue to the last chapter. Another folder contains letters, cards, postcards and manuscripts from Father Durán concerning Monsignor Quixote, from spelling to theology to Durán’s own judgements on the book. The play For Whom the Bell Chimes was first performed on 20 March 1980 in Leicester, and Greene himself attended ten days of rehearsals there. There are two different collections of manuscripts and typescripts pertaining to the writing of this work in the Georgetown archive which, for the sake of clarity, are described here together. A 53-page typed manuscript of the three-act play is labelled ‘1st draft, June 1978’, while a 21-page typescript has ‘2nd draft, July 1978, Act III’. There is an undated manuscript labelled ‘final typescript’ and an undated Xerox copy of most of

the play. Greene continued to revise Act III, and seems to have been uncertain about the ending, almost up to the date of first performance  – a single sheet is labelled ‘New Ending: Nov 1979’; ten pages of part of Act III have a few autograph corrections by Greene and are dated February 1980 but also with a note reading ‘If sending add Act III on each page Feb 1980’; and a further page, with a list of corrections for parts of three pages, is also dated February 1980 and labelled ‘Corrections: For Whom the Bell Chimes (if new Act III)’. The last part of the manuscript section includes an assortment of writings, both published and unpublished, mainly in manuscript form. Among the works eventually published are prefaces or introductions to Jean Leroy’s memoir Fils de la Rizière, Souvenirs, Recuellis par Pierre Demaret, Claud Cockburn’s autobiography Cockburn Sums Up, Miron Grindea’s Jerusalem: The Holy City in Literature, the story ‘On the Way Back’ and a proof copy of ‘Epitaph for a Play’ the preface to the play Carving a Statue. There is also a selection of handwritten poems in a bound notebook entitled ‘Occasional Verse 1927–1940’. These formed the basis of Greene’s retrospective collection A Quick Look Behind: Footnotes to an Autobiography. An additional photocopied version of this collection contains two further manuscript poems which were not published. One on the decline of the use of the hyphen is untitled but dated 1976. The second, much longer poem, is titled ‘The Ritz: An elegy written on first learning that the hotel was for sale’ and also dated 1976. 203

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Other short pieces of writing include a brief manuscript in letter form entitled ‘Foreword to a Wine Catalogue’ in which Greene extols the virtues of good but inexpensive wine which he calls ‘perhaps the second most important thing in life’. There are the texts of two speeches of thanks, one on being made an honorary citizen of Anacapri in 1978, the other on receiving the Jerusalem Prize in 1981. There is also an appreciation of the painter Anthony Palliser entitled ‘A Personal Impression’. This undated typescript draws parallels between the life of the painter and that of the writer. Greene admits to being ‘an obsessive writer . . . I cannot support idleness (even these words which I write now are an escape – better than writing nothing)’. An interesting item in this section is an unpublished four-page manuscript called ‘Opium in Albany’. Written in a gently humorous and ironic style, it describes Greene’s partially successful attempt to smoke opium and thus recreate his experiences of Saigon in Central London, ‘The quiet of Albany was very similar to the quiet of the fumerie where no-one rudely disturbs the repose of another.’ Although he has a quantity of the drug and a mended pipe brought back from Vietnam, the opium lamp required to heat it is missing. One can only speculate why this otherwise complete and wellrounded but heavily revised account was left unpublished especially as the author was prepared to be open about his use of opium in Vietnam and elsewhere. Perhaps he was cautious about admitting possession and use of the drug in the heart of London.

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Letters The largest collection of letters, postcards and telegrams are between Greene and Evelyn Waugh spanning the years 1937–66. The bulk of this collection comprises Evelyn Waugh’s handwritten correspondence. The small number of Greene’s letters are typed and autographed carbon copies The pre-war correspondence all dates from 1937 and principally concerns Waugh’s contributions to Night and Day. Greene appointed Evelyn Waugh as his sole reviewer for fiction a move which, according to Greene, was the custom at the time for theatre and cinema weeklies. The letters resume in 1946 and it is noticeable how the tone and the subject matter has changed in the interim through familiarity and a mutual sense of trust which extends to frank opinions being expressed about their respective writings. Greene‘s letters had to be typed because in 1947 Waugh wrote in an elaborately innocent manner that we was trying to decipher a signature and hoped the letter was from his friend. Thereafter, Greene repeatedly drew attention to this matter with equally heavy irony. Many of the letters concern meeting arrangements, domestic news or their immediate travel plans. Greene also faithfully sent his latest publication to Waugh which invariably elicited praise but often critical comments as well, particularly over matters of theology. While Waugh was prepared to defend Greene against the Pope’s indirect accusations about his work, he refused to see merit in the public refutation of faith in A Burnt-Out Case.

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Of particular interest is the exchange of letters concerning a film project which would have involved Greene writing a screenplay for Waugh’s celebrated novel Brideshead Revisited. Waugh’s early enthusiasm, suggesting that consent had been already granted, was tempered by Greene stating that he had only agreed in theory and then with ‘great trepidation’. He was most anxious that collaboration might damage their personal relationship. This was because David Selznick would be in overall charge of production; Greene, following his experiences of working with Selznick on the film The Third Man, regarded the Hollywood mogul as ‘an extraordinarily stupid and conventionallyminded man’. However, he did concede that working together on Brideshead might provide ‘a certain amount of fun’ for them both. Any prospect of making the film receded however when Greene warned that he had heard from Alexander Korda that David Selznick might be on the point of bankruptcy. The correspondence with John Hayward, Edith Sitwell and Antonia White comprise some eighty letters in total written between 1923 and 1979. The subject matter of the Hayward and Sitwell letters principally concerns their reactions to Greene’s latest publications. The seven Antonia White letters deal generally with their common concerns as writers. GRAHAM GREENE PAPERS 2

This collection consists of correspondence, manuscripts of major and minor works, his appointment diaries and material related to his visit to Georgetown University in

1985 including an interview he gave on Nicaragua.

Series 1: Arts and Letters Correspondence Greene’s opposition to the Vietnam War was reflected in several ways, including his contribution to the 1967 book Authors Take Sides on Vietnam. In 1967–8, with the help of Herbert Read and others, Greene tried to organize a mass resignation of Honorary Members from the American Academy  – Institute of Arts and Letters. The collection of letters, draft and copy letters at Georgetown University chronicle the rather messy and unsuccessful attempt. Greene’s own letter of resignation from the Academy, dated 19 May (presumably 1967) gave his reason as the Academy’s failure ‘to take any position at all in relation to the undeclared war in Vietnam’. The draft mass resignation letter was sent out to a number of Honorary Members in December 1967 after they had first been sounded out on the matter. This draft explained the aims of the resignation – to stop the death and suffering in Vietnam, to protest at US methods and to express solidarity with the anti-war protestors. The material shows the range of responses to Greene’s initiative. A list  – which does not wholly tally with the accompanying letters  – shows half of the members contacted (eighteen out of thirty-seven) did not reply; nine said ‘No’; six said ‘Yes’, one ‘Yes, but’, and three gave a conditional reply. Among those agreeing to resign were Pierre Boulez, François Mauriac, Oscar Niemeyer and Bertrand Russell; those refusing included

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Isaiah Berlin, Benjamin Britten, E. M. Forster and Andre Malraux. The file contains many of the responses, continued correspondence with Greene, and carbon copies of Greene’s replies. A series of letters between Greene and Herbert Read shows the progress of the proposed mass resignation, with Greene commenting in a letter of January 1968, ‘I have been disappointed about the results . . .’.

Series 2 and 3 Correspondence from Violet Hunt and Constant Lambert These two series comprise a small collection of letters sent to Greene.

Series 4: Kim Philby/Graham Greene Correspondence Graham Greene worked for the Secret Intelligence Service in Sierra Leone from 1942 to 1943, and on his return worked in the Iberian section of MI6 in St Albans under Kim Philby. In 1944 he left the service in reaction to what he took to be Philby’s personal ambition in trying to get control over anti-Soviet counterintelligence. Philby was a Soviet agent who eventually defected to the USSR in 1963. Greene remained friends with Philby, contributed an introduction to his autobiography My Silent War and visited him in Moscow in 1986 and 1987. The archive has twenty-five items of correspondence, including ten letters from Philby to Greene, ten from Greene to Philby and one to Rufa Philby, Kim’s wife. The chronological spread of the letters is very uneven. In the first letter, from April 1968, Philby expressed his appreciation for the introduction to My Silent War, stating that Greene was one of the few people who 206

would understand. Ten years later, in May 1978, Greene sent Philby a copy of his novel The Human Factor with its themes derived from Greene’s own experience in the Secret Service and Philby’s defection. Greene responded to Philby’s comments on the book, agreeing that ‘Dr Percival [one of the novel’s characters] must have been imported from CIA.’; and he agreed with what must have been Philby’s objection to the description at the end of the book – ‘I am sorry if I made Moscow too bleak.’ The correspondence of 1979 to 1980 begins with a postcard from Philby in Cuba in January 1979 but includes some interesting exchanges on world politics. In November 1979, Greene commented on the ‘Ayatollah business’, suggesting joint pressure on the Iranian leader by the USSR and the United States ‘which would aid Salt 2’. He added, ‘Even more than that – perhaps joint action and agreed spheres of influence?’ Philby replied in January 1980, disagreeing with Greene’s view but adding that he had passed it on to the competent authorities. Philby added that he was not giving the government’s views but his own. Greene picked up his idea of spheres of influence again in the context of Iran and the Soviet invasion of Afghanistan, in his letter of 27 January: ‘Now one begins to feel that we are back at 19th century power politics. Capitalism has become another word for the Welfare State: Communism has become a different version of the Welfare State – all we have left is Power  – even national power. If the United States controlled the globe or Russia controlled the globe, what difference? Then why not divide it? So we

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get back to spheres of influence – another word for understanding – and to hell with ideologies.’ Greene ended his analysis on a more personal note – ‘How I wish we were arguing with a bottle of Georgian wine between us.’ Philby’s long reply, in April 1980, pointed out how difficult it would be to get agreement on the division of spheres between the Superpowers. The correspondence continued to be peppered with reflections on world politics and leaders  – in October 1985 Philby criticized President Reagan, and the Pope’s stance on birth control  – but there was much else. In April 1980 Philby remarked how noisy Moscow was, and in June of that year reflected on being old and happy and explained why he wouldn’t appear on radio or television. Greene sent Philby copies of his latest books, and commented on acquaintances  – of Malcolm Muggeridge he wrote in January 1980: ‘Yes, we were friends even before the war, but I have learnt too well that his under-pants conceal a stiletto.’ The letters of 1986 and 1987 are dominated by Greene’s two visits to the Soviet Union, and meetings with Kim and Rufa Philby. Yvonne Cloetta accompanied Greene on both, and she features in these later letters. Kim and Rufa wrote in September 1986 expressing their delight at the first visit, with Rufa stating that the three days they had spent together were among the happiest of her life. At the same time, Kim expressed surprise that Greene had thought the Philbys might not want to see them. Greene’s reply in October informed them that Yvonne had described the visit as ‘the greatest adventure of her life’, and Yvonne herself added a postscript. Greene and

Yvonne visited again late in 1987, again prompting letters of appreciation on both sides, and Greene sent Philby a copy of the controversial book Spycatcher, by Peter Wright. There were hopes expressed on both sides of a further visit, but it did not materialize: Philby’s last letter to Greene is dated January 1988. Philby’s death on 11 May 1988 was followed a few days later by a letter of condolence to Rufa from Greene and Yvonne, with Greene calling Philby ‘a good and loyal friend’.

Series 5: Manuscripts for Major Works The Captain and the Enemy This, Greene’s last novel was published in 1988. It begins with Greene apparently looking back, first in Berkhamsted before moving on to London, but more than half way through the setting moves to Panama, a place Greene came to know late in life. Almost all the novel is written in the first person, by Jim Baxter, but this changes at the very end. It is a novel given little attention by Greene’s biographers and critics, a minor late novel with a puzzling structure and title. Nor did Greene provide any background to the work. Since it was published after Ways of Escape, that 1980 fragment of autobiography contains none of Greene’s own reflections on the book, as it does for his other writings up to then. A further element of mystery is added by the fact that the first paragraph of the novel is a reworking of one he wrote for a Spectator competition in April 1980, which asked for an extract from an imaginary novel by Greene. As always in such competitions Greene entered under a pseudonym, but his entry 207

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was not published. Just when and under what circumstances the novel was written remains something of a puzzle. However, the Georgetown archive has manuscripts which help to solve this puzzle which suggest a messy process of composition. The autograph manuscript has pages numbered 1 to 42, then a jump to 66–99 (with page 66 originally numbered 31C), followed by page numbers 101–89. These last pages include the quotation from George Birmingham which gives the book its title. The manuscript is in blue, black and green ink, with additions and amendments, plus Greene’s usual periodic word counts. It begins with the line of dialogue ‘You can go now’, which is now on the third page of the published novel. After about 3,500 words, Greene has added the date ‘Jan. 76’; after around 3,800 words, there is ‘finished up here in 1978’. There are five more pages of writing before another date, now ‘April 1980’, which in this case seems to be the date when the novel was restarted. After a total of around 6,300 words have been written, ‘May 21. 81’ is entered, and five manuscript pages further on ‘6.5.82’, again apparently another start date. There is no further dating in the manuscript, but scenes on pages 66–99 overlap with sections of pages 1 to 42, with the system of page numbering now very erratic. There are, too, sections of the manuscript from part-way through where the story is now told in the third rather than the first person, and sections where Greene seems to have decided to do this but then changed his mind, with ‘Baxter’ and ‘he’ crossed out and ‘I’ inserted. The folder which originally contained all this material has a cover note by Greene 208

saying ‘Needs arranging’, and one can see why. Georgetown also has two typescript drafts of the novel. The first, dated 7 January 1985  – three years before the novel was published – runs to 137 pages and has extensive reworking in Greene’s hand. It is, too, written in the first person throughout. The second typescript is undated and incomplete, beginning on page  26 and running to page  192, with pages numbered 80 and 84 inserted, and again with corrections and additions by Greene. The above evidence suggests a novel begun sometime in the mid-1970s, added to quite slowly in the late 1970s and early 1980s, then brought to something like a finished product by 1985, but perhaps recast once more before publication in 1988. A key element of uncertainty seems to have been whether it should be written in the first or the third person. There the puzzle might remain except that accompanying the autograph manuscript at Georgetown are two versions of a handwritten note, one untitled, the other called ‘Apologia’, which attempt to give a history of the writing of The Captain and the Enemy. Greene states in ‘Apologia’ that he wanted this ‘explanatory note’ to be published with the novel, even if the book was only an unfinished fragment. This is evident, too, from ‘Apologia’ being copied out from the earlier version in Greene’s best hand, and the inclusion in it of footnotes. Why he changed his mind and never published ‘Apologia’ is unclear. This document explains that the novel was begun at Antibes on 16 December 1974

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(Greene comments, ‘two years before I first visited Panama and I certainly had no idea that my story was going to finish there’) but was soon abandoned as he worked on another unfinished novel, The Human Factor. On the fourth anniversary of this first work – 16 December 1978 – Greene found a way forward with the novel; and although he only added about 400 words to it, he regarded it as ‘a happy day’ which seemed to come in response to a prayer. On 19 December 1981, having finished the draft of Monsignor Quixote, Greene apparently considered continuing with the unfinished fragment. Two days later he decided not to. On 16 July 1984 at Capri – ‘always a magic town to me’ – he wrote 400 more words. ‘Apologia’ then jumps to 22 November 1987 and the completion of the first draft of The Captain and the Enemy. Greene finishes with the melancholy thought: ‘I will try not to ask the question which haunts me nearly always at the end of a book: was it worth the trouble?’ Given the dating in the autograph manuscript already noted, Greene’s synopsis of the writing of The Captain and the Enemy in ‘Apologia’ is clearly incomplete. ‘Apologia’ is based on the original manuscript draft of The Captain and the Enemy at Georgetown. This manuscript was added to over the years as Greene continued with the novel and is marked with additional dates. There is an entry for June 1985, where Greene picks up the story again and notes ‘The story won’t lie down.’ There is, too, an entry for November 1985, a date well after Greene’s first typescript for the novel. Here Greene records a ‘eureka’ moment – ‘Woke this morning and suddenly found

the solution for the end. I was on the wrong track, technically and psychological, with the first person remaining in the second part. The third person suddenly gives me complete freedom at the end. It’s the “I” who is the Enemy. Now I go to Panama and Managua next week only to choose a setting for the end, not the end itself. A sense of intense release and confidence.’ It is this insight which got Greene writing on the novel again and which explains those parts of the handwritten manuscript which were amended or originally written in the third person. As the manuscript also shows, Greene then changed his mind about the move to a third-person narrative in the second part, and the novel as published is only written in the third person in the very last few pages, as a kind of epilogue to Jim Baxter’s narrative. So Greene thought better of his 1985  ‘solution’, and this may explain why this stage in the original note was omitted from ‘Apologia’. 1985 marked a restart in writing the novel, but one prompted by a solution later largely abandoned. The original, untitled draft on which ‘Apologia’ was based adds further insight into Greene’s writing of the novel. It explains how the title was gradually developed – it has ‘Getting to Know the Captain’ and ‘Knowing the Captain’, the latter crossed through, as titles. Then a later note beside these titles states that by the time Greene went back to the novel in November 1985, ‘The original title had to be abandoned because I used it for my memoir of Omar Torrijis.’ The George Birmingham quotation gave him his revised title, leaving the reader to decide who ‘the enemy’ is. 209

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The original draft of ‘Apologia’ also gives a sharp insight into Greene’s state of mind in 1978, and how driven he was by writing. The context for his resumption of writing the novel in that year is explained thus: Picked this up again in Antibes by a curious coincidence on December 16 1978 when I had despaired of ever writing again. I was beginning to think in terms of Russian roulette if not of suicide. I prayed last night my usual prayer for those I love or have hurt and without conviction one prayer this time for myself – that I could work again. For the first time in months I woke without melancholy. I attributed it to a dream I had of the new Pope and his kindness to me, and after breakfast I wrote some letters which I had been postponing and tried to sort some papers – perhaps I could find energy to go on with a series called Remembering. In a folder marked ‘Ideas’ I found a manuscript which I thought I might sell for the Tablet fund. However I decided to read it through first and suddenly I saw – anyway part of the road which I set down and added 400 words – I was working again. Only afterwards I looked at the date and saw that I had begun the book at the same table exactly four years before. Whatever happens now it has given me a happy day. If only this book could continue to my end. The melancholia has lifted. I realise now that retirement – even what they would call an anxiety free, cushioned retirement – means finally an overdose of sleeping 210

pills – retirement isn’t to be borne. If I should end first I should like the fragment to be published with this explanatory note. This stark mixture of depression, relief and affirmation of the importance of writing to Greene makes this ‘rather despairing note’ one of the most striking documents in the Georgetown archive. The phrase ‘if not of suicide’ was omitted from the later ‘Apologia’, but even in that version, slightly modified for publication, Greene’s compulsion to write is vividly evident. Finally, it is worth noting that Greene’s despair in late 1978 may in part have been caused by the recent publication of The Human Factor, after which he believed he had ‘dried up’ as a writer. It was not uncommon for him to feel depressed immediately after the publication of a novel. The release Greene felt after the events of 16 December 1978, detailed in ‘Apologia’ and its earlier draft, had a consequence beyond restarting The Captain and the Enemy. Immediately after Christmas 1978, he started work on Doctor Fischer of Geneva or The Bomb Party. Indeed, notes made by Greene for that novel, now in the archive at Leeds University, show Greene having thoughts at that time not just about Doctor Fischer, but about The Captain and the Enemy, too. A House of Reputation This three-act play, apparently completed in 1986, has never been published but was performed once as a rehearsed reading in 2000, as part of the annual Graham Greene Festival in Greene’s own school in Berkhamsted. Permission for that

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performance was granted by the Burns Library in Boston, which also has a copy of the play. An undated photocopy of Acts I and II of the play at Georgetown runs to sixty-nine pages, with thirty-eight pages for Act I and thirty-one for Act II. A title page in Greene’s hand has the detail ‘Act I. The early hours of the morning/ 2. A week later/ 3. The following week.’ The following page, also in Greene’s hand, sets the scene for the first Act, beginning: ‘There is no particular location for this house and no particular date. You can place the house if you like in some city in Central America where the corruption of the authorities leaves a little room for illicit pleasures.’ The setting is a brothel. In the manuscript which follows, there are occasional handwritten pages substituted for typescript pages, and some handwritten corrections, for instance some name changes (Maurice to Martin, Elaine to Elvira, and so on). The remaining folders of A House of Reputation consist of scattered pages of corrections, and a short but apparently complete Act III. Five pages of heavily corrected typed manuscript – three pages from Act I, two from Act II – are from a different typescript from the photocopy, in what seems to be an earlier version. There is an undated seven-page Act III in Greene’s hand, heavily corrected, and ending with two verses – beginning ‘I was born in a dive in Jeronimos Street’ – with the stage direction ‘The curtain slowly falls through the first two verses’; a note saying ‘17m’ seems to be a timing for Act III. A final folder, dated 20.11.1986, has ten pages, one with a list of characters and nine of scattered pages from all three

Acts, with some autographed corrections by Greene, particularly to the end of Act III. The original storage folder for all this play material also has the date 20 November 1986. The Tenth Man This was published in 1985 but written in 1944 when Greene was under contract to MGM to provide stories which could be made into films. Greene forgot about the story and MGM never made a film of it. A copy of the manuscript was found in the MGM archives in the United States and offered for sale in 1983. Eventually it came to light that the story was a 30,000word short novel and not, as Greene had assumed, a two-page outline, and The Tenth Man was published. In his introduction to the novel Greene wrote that in many ways he preferred the story to The Third Man, and that the original idea seems to have first come to him in December 1937  – in fact, a dating error for 1936: see the entry on ‘While Waiting for a War’ below. Georgetown has a 116-page copy of the original typescript of The Tenth Man. A note at the top, not in Greene’s hand, says ‘1st Typescript? 1944’. This differs from the eventual published text in a number of ways. The punctuation is slightly different in places. Some words are changed  – a watch is to be given ‘another wind’ in the typescript, but ‘another turn or two’ in the published text. There are occasional gaps where a place name – ‘Etain’, ‘Menilmount’ – has been added in the 1985 text. When the sister of Michel Mangeot’s sister is first named in the typescript, she is ‘Pauline’, with a paragraph explaining that the name had 211

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been chosen by her father; the 1985 text has her as ‘Thėrèse’. Interestingly in the typescript, this character, first called Pauline, later becomes Thėrèse – one indication perhaps that the story was written and submitted at speed, with no time for revision. The numbering system for the story is changed between typescript and published text. Finally, it is worth noting that the final page of the typescript has been typed on different paper with a different typewriter and presumably at a later date, since the page before is partly torn. The likelihood is that the final page became detached from the staple – but who retyped the new final page, or when, or using what source, is not known. Georgetown also has material relating to Greene’s much later introduction to The Tenth Man. A handwritten manuscript on small squared paper seems to be the original version. Interestingly, in the second paragraph he writes that the story had been written ‘just after the war’, which is changed in the published introduction to ‘towards the end of the war’ – giving credence to the notion that Greene was genuinely unsure about the genesis of the story. A later typescript version of the introduction, with the additional stories of Jim Braddon and Nobody to Blame, has corrections and additions in Greene’s hand. While Greene was writing his introduction, he and others were preparing the text for publication. An undated typed 95-page manuscript has corrections by Greene and pencilled queries and suggestions in another hand. A further typed manuscript, now including Greene’s introduction, runs to 212

123 pages and is dated 1984. It includes the copyright information, ‘Introduction and revised text Graham Greene 1984’. There are corrections on this typescript not in Greene’s hand. A further typed 77-page manuscript of The Tenth Man, with the note ‘Carbon copy of the last transcript of 10th Man’, now has 1985 as the copyright date, as if revision or other matters had delayed publication by a year. Page 63 of the typescript has a small note attached pointing out an error in the time sequence in the story and suggesting possible correction. This correction was made in the published story. ‘While Waiting for a War’ This was published in the magazine Granta 17 in Autumn 1985. Greene had selected extracts from ‘an old commonplace book and very fragmentary diary’ of the 1930s. The sixteen-page autograph manuscript of the article in the Georgetown archive is undated but is clearly from 1985. Greene has used fragmentary diary entries, newspaper cuttings, prose and poetry quotations to give a feel for the time. A few items present in the manuscript were omitted from the article as printed in Granta, presumably on grounds of space. The manuscript shows signs of confusion as to dates: the first entry is dated December 26 1936, the next January 1 1938. This confusion carried through into the printed article, where the extracts are shown as running from 1937 to 1939, when they clearly cover December 1936 to September 1938. The first entry shows the original idea for what became The Tenth Man, and the dating error was carried into Greene’s introduction to that novel, where the diary is quoted from.

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The Georgetown archive also has the original journal from which ‘While Waiting for a War’ was extracted, a small leather pocket book of which only around a quarter of the pages have been used. The journal covers the same dates as the much later article, but here there are many items not eventually selected. There are many quotations  – from J. B. Morton, Virginia Woolf, Davenant and Claudel, among others  – and a number of newspaper articles and advertisements cut out and stuck in. Most of the diary entries in the journal were included in the article, but there are a couple which were not – a visit to a stockbroker ‘to dispose of £600’, with details of stockholdings, and a visit to the Author’s Society on New Year’s Day 1937 ‘over the libel action’ – presumably that of Dr Oakley concerning Journey Without Maps, a precursor of the one involving Shirley Temple and Greene’s review of Wee Willie Winkie.

Series 6: Shorter Manuscripts – Latin America Prior to its acquisition by Georgetown University, this series of manuscripts was kept by Graham Greene in three folders individually labelled ‘Nicaragua and Central America’, ‘Literary’ and ‘Miscellaneous and sometimes Flippant’. The first of these, which deals with Latin America as a whole, comprises a collection of draft letters for publication in newspapers and journals, together with articles, statements, essays etc. All date from the middle years of the 1980s when the author was preoccupied with events in that region and anxious to publicize what he considered to be examples of injustices, misconceptions,

misinformation and political interference. Nearly half the material relates directly to Nicaragua, which was then governed by the left-wing Sandinista Regime. Three documents are concerned with Panama and the publication of Getting to Know the General. The balance of the contents deals with Latin America in general or specific countries. Most but not all of this eclectic mix of writings were published. The ten items specifically about Nicaragua comprise six letters, three draft manuscripts and the text for a television appearance. The letters focus principally on the state of the country under the Sandinista Government, the relationship between church and state in what Greene described in one of his letters as ‘a very Catholic country’ and criticism of the views expressed by Pope John Paul II. He based his judgements on three visits to the country made between 1979 and 1986 when he interviewed clergy and nuns ‘of my own choice’ both Catholic and Protestant who, he claimed, ‘know Nicaragua as only priests can’. He was able to witness at first hand older students in a dangerous, war-torn part of the country working in the fields alongside the people during the day, while teaching them to read and write at night. Both in an unpublished letter and in his article ‘Nicaragua: A Personal View’ he used the experience of a visit to the barrios of Leon on the eve of the Feast of the Immaculate Conception as evidence of the absence of religious persecution. In ‘Nicaragua: A Personal View’ he rejected President Reagan’s claim that the Sandinista regime was totalitarian; ‘it is certainly Socialist’ he noted, citing the fact that Catholic priests filled the posts of Foreign Minister 213

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and Minister for Health and Education working alongside Marxist ministers. The final paragraph of this piece includes a graphic description of a mutilated corpse, tortured and then murdered by the rebel Contras. ‘Nicaragua: A Personal View’ was rejected for publication by The Times, a matter which is referred to later in this section. Greene reserved much of his opprobrium for the Pope who he described as ‘lamentably ill-informed’ regarding Nicaragua. In his most concerted attack on the Holy Father he highlighted the dilemma faced by many Catholics in reconciling what are historically fairly recent edicts on papal infallibility with the realities of modern-day life. He inferred that ‘good popes’ of the twentieth century used infallibility sparingly. He proceeded to criticize John Paul II as a ‘political pope’ who exploited his charisma. He likened the habit of the Pontiff of kissing the ground of the countries he visited to ‘those mutual worshipping smiles between Reagan and Nancy’. After querying the Pope’s ‘muted’ response to the assassination of Archbishop Romero in El Salvador he concluded that John Paul II should concern himself less with politics and more with moral corruption, specifying ‘relations between the Vatican Bank and the Banco Ambrosiano and the membership of the free masonic lodge P2 in Italy’. Famously, Greene always declined to appear on television or on film. However he did allow himself to be featured on a regional French television channel in January 1983 in order to attack an article he had read in Time Magazine. Time had quoted evidence of the torture 214

of Misquito Indian children made by a deserter from the Sandinistas. In a short statement for the broadcast, the manuscript for which is included in this series, Greene counter-claimed that he had just returned from Nicaragua and had been personally reassured by religious men and women who were working among the Misquitos that the people were being well treated. Calling the reports ‘paranoiac propaganda’, he stated, ‘Yes there are child killers in Nicaragua, bombs of American origin . . .’. At this juncture a photo of a box enticingly marked ‘Mickey Mouse Productions’ was shown on screen. The text for the broadcast ended starkly ‘Open it and die’. Although the author was a frequent visitor to Panama from 1976 onwards, the possibility of writing a novel about the country he had become intimately involved with constantly eluded him. Three autographed pages of notes: opening lines, snatches of dialogue, reminders for future reference provide evidence of an unsuccessful struggle for inspiration. The other Panama-related items include two letters. In one he attacked inaccuracies in the journalist Paul Johnson’s review of Getting to Know the General. In the other letter, subsequently published with slight variations in both The Times and the New York Review of Books, Greene pointed out the absurdity of the official advice provided by the American authorities in the event of a nuclear attack on the Panama Canal Zone. The remainder of the Latin America manuscripts cover a range of topics. These include letters about Belize and

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Argentina, Liberation Theology and criticism of the writer Piers Paul Read’s knowledge of the region. US interference is attacked in a letter to Time magazine in which he compared the deaths caused by the AIDS epidemic with casualties resulting from American ‘Aid’. In an article intended for publication in the Philippine Literaturanag Gazette, written in October 1985, Greene praised President Gorbachev’s economic report as a small but significant step towards détente, comparing the Russian’s cautious pragmatism with what he termed the ‘recklessly ignorant’ and ‘hypocritical’ approach to foreign policy adopted by President Reagan.

Series 7: Shorter Manuscripts – Literary The ‘Literary’ folder comprises seventeen documents in total, again a variety of letters, articles and essays. It is a mixture of published and unpublished writings, mostly in manuscript form, some with a typescript showing minor alterations. ‘The Last Decade’ is a highly significant, prose document from a purely biographical perspective. It was published just once in 1984 in Time and Tide, a small-circulation magazine, and has been overlooked thus far by Greene’s biographers. Therefore it is described below in some detail in view of its rarity. Yvonne Cloetta, in her memoir, recalled a conversation with Greene in which he referred to the work as an abandoned attempt at writing a ‘serious’ book on the theme of death to be published posthumously. Although the writing of ‘The Last Decade’ may have quickly ceased to have relevance for Greene, what exists

provides a unique insight into his state of mind as he started what he thought would be the last decade of his life. It includes several meditations on approaching death but much else besides. The copy at Georgetown is a sixpage, autographed manuscript which can be accurately dated from its content to October  – November 1964. It is written in a loose journal form, with a few dates added. It is heavily revised. Some of the more introspective and personal passages are marked in parenthesis. At the time of writing, Greene claimed that ‘The Last Decade’ would be his last book. However, a brief undated note by the author accompanies the manuscript. Written as an introduction prior to publication in 1984 it states that he had abandoned the journal after days or weeks, that perhaps it had served to ‘loosen a writer’s block’ and that contrary to how he felt at the time of writing the decade that followed proved to be one of the happiest of his life. He added that those years also saw the publication of what he regarded as some of his more successful books; he named The Comedians, May We Borrow Your Husband? and Other Comedies of the Sexual Life and Travels with My Aunt. The first part of the narrative dwells on the writer’s feelings of regret. This was prompted by the fact that he had not received a birthday message from his son but Greene added that he could not attach blame as he himself had forgotten Francis’ birthday three weeks previously, ‘in the turmoil of the play’ (the first production of Carving a Statue opened on 17 September 1964). While reflecting on this unfortunate breakdown in communication, Greene 215

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drew past and present parallels with his private life, stating that he had broken his own marriage to Vivien ‘with intention’ a quarter of a century previously and ‘to break another marriage’, referring to his then current liaison with Yvonne Cloetta, would be ‘a shade worse’. In another passage, Greene admitted that he carried guilt with him ‘almost every day’. He questioned Freud’s conclusion that people who are accidentprone are likely to suffer in this way. He had never been accident-prone. He asked himself whether simply being conscious of personal guilt made him ‘like a clever criminal escaping justice’. ‘The Last Decade’ contains a number of other disarmingly honest reflections on his own personality and how he interacts with others. Greene claimed that he had found difficulty, even when in love, of feeling the separate existence of another person, unless that person is in pain. He asked, ‘Is it possible that one inflicts pain sometimes in order to realise properly that the other person exists . . .?’ Remarkably, he claimed that once the pain had gone the other one ceases to exist. This acute sense of personal detachment took another form at the end of a lengthy and detailed account concerning the sudden illness and death of Yvonne Cloetta’s father-in-law. It included a description of how the fatherin-law, shortly before he collapsed, had talked in a ‘bizarre’ fashion at the dinner table. Greene remarked laconically, ‘The awful curiosity of a novelist: what were those last bizarre things he said?’ The manuscript was written immediately after Graham Greene had returned to Antibes from London and the 216

adversely critical reception to Carving a Statue, referred to above. He was living in a rented studio; in an early entry he was even awaiting a mattress for his bed and he was principally relying on meals taken at Chez Félix, his favourite restaurant in the town. He was finding it exceedingly difficult to make progress with The Comedians; at one point he remarked that he had been ‘in despair’ with the novel all day long. He admitted being increasingly dependent on alcohol to find solutions to problems in his writing. He could no longer trust to sleep to provide the answers as he had done in the past. However, it appears that there was solace to be found in reading during this difficult period. Greene argued that, with age, reading should be demanding ‘to excite by images or ideas’. He was tackling the twelfth volume of Matthew Arnold’s essays. In another entry he was deeply critical of some short stories by Henry James, an author he otherwise much admired. Elsewhere, he envied Charles Darwin, wishing he had received a scientific rather than a classical education; a passage from The Voyage of the Beagle attracted him with its exactness of observation. Reading a critique of A. C. Bradley’s work prompted Greene to reflect on his own definition of ‘value’ in literature. He remembered that when younger he was easily able to draw distinctions between good and evil in his writing. He stated that The Power and the Glory remained his best book simply because to describe the polarity dividing these concepts seemed straightforward. At his time of life, ‘the internal chaos’ was such that to incorporate a range of ethical

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qualifications in his writing on such matters, and to do so in a coherent form, was ‘a monstrous task’. Certainly, the dominant and recurring theme in this work concerns the physical and mental changes brought about by reaching the age of sixty and, ‘By the old law of averages, . . . entering the last decade’. Greene stated bleakly that, ‘The end of life faces us like a wall, and every day we must take a step towards it’. He faithfully listed the friends and lovedones who had died in the previous year, were currently terminally ill or in hospital awaiting surgery. He equated ‘survivors’ like himself to a battalion ‘doomed to take part in the last operation’. In another passage, he described how while eating his lunch he had thought he was enduring the symptoms of a stroke. Even the fact that he had experienced eight orgasms in the past four days was tempered by the sober observation that a subsequent loss of physical interest in his lover was unsurprising at his age. One can speculate on the motives which prompted Greene to write ‘The Last Decade’. Three years earlier, he had published In Search of a Character: Two African Journals. In the preface to that book he stated that the longer of the two pieces, ‘Congo Journal’, written as a form of aide-mémoire during visits to leprosy colonies in the Belgian Congo in 1959, later provided the background material for A Burnt-Out Case. There are marked similarities in the format and in the method of recording thoughts and observations between the two journals which suggest that a novel of somewhat morbid content might have followed the 1964 work.

It is difficult to be precise about the date of the two-page unpublished manuscript ‘Introduction (to an Autobiography)’ but, given that Greene makes direct reference to the title in A Sort of Life, one might confidently assume that it was written in the latter half of the 1960s. Although it carries a few distant echoes of the introduction to the 1971 book, it is far more revealing about the desire for personal privacy which made Greene avoid the conventional autobiographical format than the somewhat anodyne and evasive words he wrote in the introduction that appears in A Sort of Life. This draft introduction shows that Greene had been considering writing an autobiography for about fifteen years. His first plan involved giving it the title ‘121 Airports’. He would use the fact that he had visited that number of airports ‘as a symbol for each part of a restless life’. He made reference to this idea for a book of reminiscences in a letter he wrote to Catherine Walston in 1955 and a fragment of what must be the original manuscript is to be found in the University of Louisville, Kentucky, appropriately entitled ‘Airports’. He abandoned this idea as the sheer number of airports he visited increased exponentially. The second plan, which in the end Greene adopted as the template for Ways of Escape, had been suggested to him by Paul Zsolnay for the German Collected Edition. By subsequently ‘collecting’ the introductions in a single volume the author could provide interesting, contextual detail about events leading to the publication of his novels at the same time avoiding too many personal revelations about his private life. 217

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Fundamentally, Greene wanted his autobiography to be ‘a description of the kind of world I [he] passed through’ and to treat his novels ‘with the objectivity of a disillusioned parent whose children have not lived up to his hopes’. Ideally, he would prefer to procrastinate, endlessly amending galley proofs of his autobiography ‘until death overtook one’. He did not intend to explain his deliberately obtuse title for A Sort of Life and what he called ‘the limitation’ it implied. Yet in the next sentence Greene did just that. He stated that the happiest part of his life had been ‘shared’ and that those years ‘are not mine to write about, for they belong to others as much as myself’. Another manuscript in this section, also reflective in content, deals with the author’s lifetime interest in dreams and what is variously referred to as intuition or extra-sensory perception. ‘A Constant Question Mark’ has been recently published in the second edition of Reflections. Although undated, the copy at Boston College confirms it was written and first published in 1987. An unpublished short essay accompanies a manuscript copy of his late play For Whom the Bell Chimes. It was intended as a postscript, no doubt to be included with the published edition, as it refers in passing to the play’s reception when it was first performed three years earlier in Leicester. Greene complained that some critics ‘wish me to be serious’; he challenged them to ‘detect a metaphysical meaning behind the flippancy’ in the play. Later this brief piece takes the form of a tribute to Brighton, one of Greene’s favourite places. He was delighted that 218

the play was to be performed at the Pavilion Theatre there; he liked to feel ‘that Brighton was at the back of my mind as I wrote’. He bemoaned the loss of many of the attractions of the old town but was thankful that his favourite pub in the whole country, The Cricketers, ‘has not followed the peepshows into oblivion’. Two other manuscripts, both in the form of prefaces, relate to subjects which directly involved Greene in earlier life, not as a writer but as co-editor of a weekly magazine and as an influential director of a publishing company respectively. His recollection of a shortlived involvement with Night and Day in 1937 was written for the publication of a selection from the entire ‘run’ of the magazine in 1985. His championing of Ford Madox Ford during his time as a director of the Bodley Head culminated in the publication of a selected edition of the modernist writer’s works which he personally edited and for which he wrote an introductory essay. Greene’s brief foreword for The Ford Madox Ford Reader acknowledged the encouragement he had personally received from Ford as a young writer. Greene described having his portrait painted by the artist Caroline Hill as ‘a frightening pleasure’. In a short essay, ‘On Being Painted’, he affectionately recalled a shared sense of guilt with the artist after the twenty sittings needed to accomplish the task in the difficult watercolour medium. ‘Out of the Dustbin’ comprises examples of a few incomplete and abandoned writings which Greene sent to Judith Adamson while she was compiling Reflections.

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There are two texts of speeches for public events. In one, entitled ‘Intervention in Paris  – at meeting at Sorbonne’, Greene made a plea for an international prize to be funded for translating the works of writers whose languages are not commonly known or taught. The second one, ‘Publishers’ Association Speech’, was for a City of London lunch to launch a Book Marketing Council promotion called ‘The Best Novels’. Greene was asked, as guest speaker, to announce his ‘ten best’ writers to rival a ‘99 best books’ recently selected by fellow writer Anthony Burgess. Predictably, he did not take the competitive aspects of this idea seriously, likening the process to a childhood family game of ‘Consequences’. The speech, which contained several gentle jibes at Anthony Burgess, included Greene’s ten chosen authors, two of which he seemed delighted to relate did not appear anywhere on Burgess’s vastly more extensive list. Of the six letters in this file, four were subsequently published in newspapers. The other two are private correspondence. One of these is to Anthony Blond in 1983 about his proposed publication of The Tenth Man.

Series 8: Shorter Manuscripts – Miscellaneous The last file in the Shorter Manuscripts series, titled by Greene ‘Miscellaneous and Sometimes Flippant’ includes fifteen items. Thirteen take the form of letters to newspapers and journals and one is a private communication to a student writing a thesis on Greene. Topics range widely from Euthanasia to the Catholic population in Cuba and from the Nuclear

Deterrent to Vodka. Although the earliest dates were from 1963, most were written during the 1980s. In all cases bar one, the correspondence is in manuscript form; Greene’s letter to The Times ‘The Right to Die’ is a newspaper clipping of the published letter. The final document is the text for a speech. Nearly all the letters were published. There are two prominent exceptions which Greene individually labelled ‘not for publication’ and ‘not published’. Both were written to the editor of The Times in 1984 and concern the timing of the publication of Getting to Know the General. Greene had clearly felt that the paper had implied that the writer had made sure that his book was in the public domain in time to help influence the outcome of the US Presidential Election. His first letter, not dated, briefly rejected the idea of a ‘jobbing writer’ being able to influence an election. The second item of correspondence is addressed personally to the editor Mr Douglas-Home. Greene recalled ‘three happy years’ working on the paper and stated that as an expatriate The Times was the only English daily newspaper he continued to read. However, he reiterated the point that his intention with Getting to Know the General had not been to try and influence opinion about the election but to add ‘some nuisance value, yes, like a fly buzzing’. This letter ended with the author sending ‘friendly greetings to the editor’ and claiming ‘honour satisfied on both sides’. A former editor of The Times has since stated that his paper had grown tired of Greene’s many submissions in the 1980s, and had not printed some, which 219

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may help to explain the conciliatory tone adopted in this letter. There are no fewer than five drafts of a very short speech of thanks Greene gave on being made Commander des Artes et Lettres. Although the text is in English, the final phrase to be used in the speech was added in French by Yvonne Cloetta.

Series 9: Appointment Diaries This collection consists of twelve appointment diaries kept by Greene to record his travel plans and also to note visitors to his apartment in Antibes and the duration of their stay. He also lists books and authors he has read during the calendar month. The diaries date from 1978 to 1980.

Series 10: Graham Greene at Georgetown The penultimate series concerns Greene’s visit to Georgetown University in October 1985. He had been personally invited by the Librarian at the time, Joseph E. Jeffs, who had previously corresponded with the author for several years. The highlight of Greene’s visit took the form of a question and answer session with students and lecturers. To mark his visit Greene presented the Joseph Mark Lauinger Library with his diary and commonplace book for 1936 and the manuscript for his article ‘While Waiting for a War’. The author was instrumental in influencing both family and friends to donate their archives to the university. Arguably, the library’s most important Greene-related acquisition, the Catherine Walston Collection, was sold to the university on the author’s recommendation. 220

Included in this series are cassette and CD recordings of the interview in the university’s Gaston Hall. Among other topics Greene answered questions on his personal motivations as a writer, on Liberation Theology, on assisting with film scripts and writing plays, about the priest in The Power and Glory and the importance of travel in relation to writing. Newspaper cuttings about the visit and a copy of the Lauinger Library ‘Finding Aid’ for Graham Greene, annotated by the author, complete this collection. Some of his marginalia in the latter item is of interest. Greene wanted to read the Book of Occasional Verse 1927–40. He claimed ‘no recollection’ of the essay ‘A Personal Impression’ while the description of him as film critic for the magazine Night and Day received the acerbic comment, ‘this is a joke, I was the editor’.

Series 11: Nicaragua Interview There is a recording of the interview the writer gave for a local Washington radio station during his 1985 visit entitled ‘On Nicaragua’. GRAHAM GREENE – CATHERINE WALSTON COLLECTION

Catherine Walston was the American wife of the Labour politician, and later, life peer, Harry Walston. In 1946 she converted to Catholicism, and contacted Greene asking him to be her godfather; she said that his books had influenced her decision to convert. Walston was received into the church, and she and Greene began an intense and unsettling affair which lasted until the late 1950s. Greene wanted Catherine to divorce her husband and marry him, but she refused;

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their tempestuous affair formed the backdrop to one of the most disturbed periods of Greene’s life – for him, Greene wrote in Ways of Escape the 1950s were ‘a period of great unrest’. Greene’s affair is generally taken to be the inspiration for his 1951 novel The End of the Affair, though the parallels of character – Greene/ Bendrix, Catherine/Sarah, Harry/Henry – are far from exact.

Letters The affair generated a huge volume of correspondence. Walston’s letters to Greene have not survived, with the exception of five written towards the end of her life, which are at Boston College. There are over 1,200 of Greene’s, the great majority handwritten letters, but with many telegrams and postcards. One postcard simply states ‘I love onion sandwiches’  – a reference carried on into The End of the Affair – but many of the letters are very long. There are pet names (‘Cafryn’) and codes (‘SIMB’). The distribution of the letters over time traces the arc of their intense and stormy relationship. From a mere five written late in 1946, there are forty-nine from 1947, as the affair began, sixty in 1948, eightythree in 1949, ninety-six in 1950, and 100 in 1951, the peak year. For the next ten years Greene averaged around fifty a year, then the number dropped a little until the mid-1960s. By the late 1960s Greene was writing under twenty letters a year, and in her last decade it became a handful annually. Extensive use of this rich archive of letters has been made in published works by several Greene scholars, including Norman Sherry, Richard Greene and William Cash.

However, the letters are valuable not merely because they are so numerous. The early period of the affair in particular was one in which Greene became a major international literary celebrity, the writer of The Heart of the Matter and The End of the Affair who was being considered for the Nobel Prize, a heavyweight Catholic intellectual, screenplay writer for a trio of classic films, traveller to and writer about the world’s hotspots. His letters to Catherine Walston tell us much about this hectic and important period in Greene’s life – the intensity of his affair, his frenetic travels around the globe (sometimes, it seems, to get away from the heat of his passion for her) and his driven life as a writer. There is more raw sexual passion in these letters than the later ones to Yvonne Cloetta but with much unhappiness  – at his absence from her, at her unwillingness to leave her husband, at the very troubled period Greene was passing through. There is reminiscence at the places they have travelled to together, and reflections from the faraway places Greene had gone to – from Dakar to Saigon, New York to Venice, Haiti to the Congo. His creative work is also covered – his film work, the extraordinary reaction to The Heart of the Matter, progress in writing his novels.

Poetry Greene’s affair with Catherine Walston also produced an outpouring of poetry. Some handwritten poems are enclosed with individual letters – on 10 May 1949 (untitled here, but later amended a little and published as ‘Digging a Grave’); 3 September 1949 (‘Hope’  – the second verse of ‘After Two Years’); 7 November 1952 (‘On the road from Strasbourg to 221

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Paris. Nov. 7 1952’, later published as ‘I Do Not Believe’); and January 1955 (‘Song for Three Aging Voices’). This list, however, greatly understates the number Greene wrote for or to Walston. In the Georgetown archive is an A4 unlined clothbound book in which Greene transcribed fair copies of twenty poems (and two pieces of prose) written between 1947 and 1952. The title page shows that the book was begun very early in Greene’s affair with Walston – he has written ‘by Graham Greene for Catherine. February 12.1947’ (her birthday). The title above this has ‘1947, 1948, 1949 and Life’. However, the first poem is dated April 1948, and the remainder are in chronological order. It is very reminiscent of the ‘For Vivienne’ volume in Austin, Texas. Almost all the poems are dated, and often have places and events noted which are associated with them  – so ‘After Two Years’ has ‘Villa Rosaio, Anacapri, February 1949. A letter written on the roof in the Sun after Mass while you wrote another letter’; while ‘In the Restaurant Car’ was ‘Written on the train to Ampleforth, after treating you badly the night before, and writing under dope. June 27. 1951’. The twenty poems, occupying twenty-eight pages of this ‘Black Book’ (as Greene refers to it elsewhere) are numbered as follows: I ‘Il Pace’ II ‘Behind the Tight Pupils’ III ‘After Two Years’ IV ‘For February Twelve’ V ‘On Coming into Naples at Sunset and the Smell of Freetown over the water’ VI ‘He dug his grave . . .’ 222

VII ‘A Letter from London to Ireland’ VIII ‘Hope’ IX ‘And Afterwards Common Sense’ X ‘Walking back after drinks together at the Old English Gentleman’ XI ‘To Catherine who asked for a piece of verse while she filled up her passport form’ (The Black Book then has, in Greene’s hand, ‘And then 1950/ Nil/ And then 1951.’) XII ‘After Four Years’ XIII ‘For Catherine on her birthday, February 12, 1951’ XIV ‘A Letter from the Workhouse’ XV ‘Two Parises’ XVI ‘In the Restaurant Car’ XVII ‘Return to Malaya’ XVIII ‘Portrait of a Place / 1. The Cottage, Charles Road’ XIX ‘Portrait of a Place /2. The King’s Arms’ XX ‘Portrait of a Place / 3. 19 The Grove’ The poems vary in length, from the eight lines of ‘And Afterwards Common Sense’ to the five verses and three pages of ‘In the Restaurant Car’. Most are love poems, sometimes with religious overtones. There is much that is very personal and intimate to Greene and Walston, with varying tones: ‘After Two Years’ is evocative of the places they have visited together, ‘After Four Years’ reflects on Greene trying and failing to forget Catherine, while ‘Two Parises’ has Greene lonely in Paris, and remembering love.

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In Box 46 of the Greene-Walston Collection there is a further copy of some of these poems (numbers I, II, III, XI, XII, XIII, XIV, XV, XVII and XVI), in most cases apparently the original handwritten drafts sent to Walston: some are in pencil, some with the envelopes in which they were sent. Poems XVIII and XIX are included in this series, but both with the different title, ‘Portrait of Midstead’. Another in this series, ‘I who learned Ireland first with you . . .’, is not a new poem, but part of ‘After Two Years’ written on the back of a photograph. Box 46 also contains handwritten copies of ‘El Greco’, written in the 1930s, and ‘Ballade on a Wedding’, undated but from 1956, concerning the wedding that year of Grace Kelly. That Box also has handwritten copies of Greene’s poems not found or published elsewhere, including in the Black Book: ‘Week-End Competition 1,234’  – a one-page humorous verse signed ‘Stinkin Greene’ and with the note ‘Lying in bed in Rome with an upset stomach. Oct. 22, 1953’; ‘Mr. Cinderella’  – in an envelope to Catherine Walston postmarked 29 October 1955, a one-page light verse with the note ‘A new song for your Black Book. Mr. Cinderella’; ‘The Family Face’  – undated, four short verses about a portrait face, together with a typescript of the poem; ‘Strolling out towards the Church’  – an undated three-line fragment, the third line a sequence of dots ending with ‘y’; Untitled and undated fragment  – two four-line verses, beginning, ‘If ever thou givest meat or drink’, together with other jotted references and quotations.

In addition to the three poems and two fragments listed above, a few of the poems in the Greene-Walston Collection have never been published: poems IX, XVII, XVIII and XIX from the Black Book. Some of the Walston poems were included in Greene’s 1983 volume A Quick Look Behind: Footnotes to an Autobiography, and some in magazines or newspapers. Some poems were altered a little for publication, sometimes with changes of title. Many of the poems detailed above also appeared in two limited edition volumes, After Two Years and For Christmas. Both were printed privately in Paris at Greene’s own expense, using the name of his Anacapri villa, Rosaio, as the imprint. After Two Years was published in 1949, to celebrate the first twenty-four months of their affair; it was limited to twentyfive numbered copies, of which as few as perhaps three are known to exist. For Christmas was published in 1951, with only twelve copies produced. It is believed that Greene destroyed most copies of both volumes, in order to prevent his affair from becoming more widely known. He even went as far as refusing to provide the British Library with any details about these volumes to prevent a record being kept. Greene’s own copies of the volumes were put up for sale in November 2008. Catherine Walston’s own copies are at Georgetown, the most important part of a large collection of Greene’s works she owned. After Two Years consists of the poems ‘The Little Peace’ (elsewhere entitled ‘Il Pace’), ‘Behind the Tight Pupils’, ‘After Two Years’, ‘For February Twelve’, ‘On Coming into Naples .  .  .’ (a shortened 223

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title), ‘The Grave in the Forest’ (elsewhere ‘He dug his grave .  .  .’ or ‘Digging a Grave’), ‘A Letter from London’ (another shortened title), and ‘And the Grass . . .’ (elsewhere ‘Hope’ or ‘The Grass’). After each poem in Walston’s copy, Greene has added a handwritten note, usually about the place of composition, giving similar detail to that found in the Black Book. There is additional detail for ‘On Coming into Naples’, ‘A Letter from London’, and for ‘And the Grass . . .’, For the last he adds: ‘A moment of hope in 1949 after our last thought[?] of Canada’). Greene has numbered this copy No. 1, and signed it. On a page on which ‘To Catherine’ is printed, there is a thirteen-line dedication ‘To Cafryn’ including the sentence ‘You gave me a knowledge of love I never had before, and I gave you a set of bad verses.’ The dedication is dated Christmas, 1949. For Christmas consists of the poems ‘Winter Country’ (elsewhere entitled ‘Walking back after drinks together . . .’), ‘Those who are Hungry’ (elsewhere ‘To Catherine who asked .  .  .’), ‘After Four Years’, ‘A Birthday Letter’ (elsewhere ‘For Catherine on her birthday .  .  .’), ‘A Letter from the Workhouse’, ‘Paris Empty’ (elsewhere ‘Two Parises’), and ‘In the Restaurant Car’. Dates and place of composition are printed at the end of each poem. Walston’s copy is not numbered, but there is again a printed dedication, ‘For Catherine with love.’ On this page there is a handwritten dedication by Greene running to twenty-eight lines. It is headed ‘Hong Kong/ Dec.27 1951’ and begins ‘Dearest Caffryn’. It remembers some of the days Greene and Walston had spent together and adds, ‘there is always pain in love . . . (some of it is expressed 224

here)’. Greene signs it, ‘With all my love, in the fifth year of our marriage’. They had gone through a form of service in Tunbridge Wells, though neither had divorced.

Diaries There are further insights into the relationship between Greene and Walston elsewhere in the Georgetown archive. There are five diaries provided for Walston by Greene. The first, for 1949 and inscribed to her by him at ‘Christmas 1948’, set the pattern for the later ones. In Greene’s hand there are literary entries for every day of the coming year – thus the first five days of 1949 have quotations from Robert Graves, Henry James Senior, W. H. Auden, Gerard Manley Hopkins and André Gide. At the back there is a list of authors used, again in Greene’s hand – 154 in all, plus a Robert Graves poem inscribed by Greene to Walston. The 1949 diary has entries by Catherine Walston, giving insights into their relationship and Greene’s work. On 30 January Greene wrote the poem ‘After Two Years’, and on 26 December there were the pub drinks that led to an hour’s quarrel, Greene walking home and writing a poem. Greene encouraged Walston to write  – on 29 January 1949 she was planning a novel, and she recorded her progress with the writing, noting the number of words written, like Greene. The two talked about religion – on 23 February, about the Sermon on the Mount. On 3 March Greene was recorded as being very depressed. There are tantalizing glimpses into Greene’s work – a reference in March to plans for England Made Me [a film version?] having failed,

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while in April Greene read to Walston the first two chapters of The Stranger’s Hand, before an argument broke out. And inserted into the diary between pages 148 and 149 (covering the dates 22–25 October 1949) is the outline for a Greene novel, clearly The End of the Affair – with an epigraph by Lėon Bloy and references to ‘Priv. det.’ and ‘I’ and ‘The possibly miraculous’. The projected novel at that point was to be of three parts. The remaining Walston diaries, for 1950, 1951, 1952 and 1955, follow the 1949 pattern. Greene wrote out literary quotations, although only the 1955 diary has one on each page. Walston made entries in the diaries, but often not very extensively, with long gaps. In the 1950 diary Walston recorded Greene’s progress with The End of the Affair, noting ‘The Edge of the Desert’ and ‘The Point of Departure’ as possible titles on 28 May, and the writing of 1,100 words on 10 June. At the back of that diary Walston wrote out sixteen religious thoughts and quotations. In the front endpapers of the 1952 diary, Greene copied out his poem ‘In the Restaurant Car’, written, he claimed, ‘after a bad scene I caused’. On 2 January Catherine recorded the arrival of the book of Greene’s poems, For Christmas, with its long inscription by Greene, Walston adding that she wished she knew something about poetry. The 1955 diary has a final melancholy note in Greene’s hand, on the page after 31 December: ‘And are you still with me? How I hope so. Graham.’

Other Greene Writings The letters, poems and diaries described above are those parts of the Greene-

Walston Collection which centre on the relationship between the writer and his lover. That relationship also resulted in many of Greene’s other writings becoming Walston’s property and are therefore included in the Catherine Walston collection at Georgetown. These other writings are considered below, according to type

Unpublished Works ‘A Mexican Diary 1938’ This was given by Greene to Walston for her birthday and dated 13 February 1951: ‘This diary which I kept in Mexico and forms the basis of The Lawless Roads.’ Greene’s handwritten diary is on ruled looseleaf sheets of exercise book size, with punched holes and held in a black two-ringed binder. There are fifty-nine written sheets, almost all double-sided, and twenty blank sheets. Almost all the entries are in pencil, some in ink. Many sections are crossed out, presumably as Greene used them in writing The Lawless Roads. The latter book is closely based on the diary  – for instance, the diary’s ‘Oil flaring over brown plains, the flames like sunlight on glass roofs’ becomes, in the published work, ‘The brown and convex plains spread out on either side of the car, and oil flared on the horizon like the flames on a sacrificial pyramid.’ The diary starts ‘Feb. 26 Train to San Antonio’ and the dating continues until 5 May. Beyond that there are undated notes as aides memoiré  – for instance, ‘The Spanish woman slapping the girl’s face’. For his meeting with General Cedillo on 9 March, Greene has drawn up three pages of questions, with gaps for answers, but these gaps are not filled in; later, there 225

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are direct quotations from the general noted. On one page Greene has drawn cacti, on another, he records two stories he has heard. On the last written page, Greene considers his commercial options for ‘Possible articles’: eight are listed and three ticked, including ‘In Pursuit of a Miracle’. On the page before this there is what seems to be the outline of a possible novel. Called ‘The Leader’, the story has six listed parts, with between three and six lines of plot notes for each and an estimate of possible word count. Thus ‘Part 1’ – the only one to have ticks against the items listed – has ‘The Map’, then ‘Marlowe’s visit to office’, then ‘Hands has idea’ and ‘Hands sees Danvers’, with a word count of 4,200 at the side. The total word count is 63,200, and Greene has noted ‘Another 10,000 needed’. The novel seems to be set in Africa, involves an expedition and a shareholders’ meeting, and ends with ‘The Fascist State goes on .  .  .’ There is no sign of further composition beyond the outline. Accompanying the diary are associated materials including photographs and postcards. Prologue to Pilgrimage The unpublished novel Prologue to Pilgrimage, some 73,000 words in length, is complete and although undated is thought to have been finished in November 1924, while Greene was still at Oxford. The typed manuscript has the address of The Oxford Copying Office opposite Balliol College, presumably the typing service Greene used. The novel is more generally known as Anthony Sant, but Prologue to Pilgrimage is the only title given on this copy. The same title page 226

also has, after Greene’s name, ‘Author of “Babbling April” (Basil Blackwell)’, and since that volume was published in May 1925, this typescript may well date from that year. The epigraph for the novel on the title page is from Joseph Conrad: ‘A strange bird is hatched sometimes in the nest in an unaccountable way and then the fate of such a bird is bound to be illdefined, uncertain, questionable.’ Anthony Sant is a black boy born of white parents, and the story is of his birth, childhood, schooldays and later adventures, with some autobiographical resonances with Greene’s early life. The novel has six chapters – 1 The Coming, 17 pages; 2 Childhood, 48 pages; 3 School, 38 pages; 4 Youth, 60 pages; 5 Escape, 17 pages; 6 The Threshold, 63 pages. It begins: Mr. Sant, Anthony’s father, was a little man of literary leanings; Mrs. Sant, a tall dark lady of a somewhat domineering manner. Anthony’s arrival was the third to disturb the even tranquillity of the household, a brother and sister having already preceded him into a world that consisted of nursery fires with buttered toast, and half drawn blinds with occasional strawberries as the seasons varied. The Episode The Episode is again a completed novel of around 82,000 words, thought to have been written by Greene in 1925–6 and therefore his second one. Like the first, it has never been published, and this is the only extant draft. The manuscript, typed apparently in 1926, has in pencil on the title page ‘R to Graham Greene Esq, 141,

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Albert Palace Mansions, Battersea Park SW 11’ – presumably by the publisher to whom the manuscript had been submitted. The same title page has ‘Alternative title: “Goodnight, Sweet Ladies” ’ handwritten by Greene, and an epigraph by Phoenix, Lascelles Abercrombie: ‘Why can’t they be like me, the men who love me?’ Each of the six sections of the A4 manuscript is bound with string separately, in grey paper wrappers  – Chapter I, Prologue, 29 pages; Chapter II  – I-IV  – 51 pages; Chapter II – V-VIII – 102 pages; Chapter II – IX – 70 pages; Chapter II – X-XI – 74 pages; and Chapter III, Epilogue, 12 pages. The novel is set in Spain, and influenced by Conrad’s The Arrow of Gold. The first two paragraphs read: It was, but I was in no mood to thank Heaven for it, a fine night. Through it the bus cleft its way, swaying gently from side to side, as though in a surge of blue-black waves, star sprayed. There was a dagger-pointed sting in the air, and I turned up the collar of my coat. In front of me Piccadilly heaved itself up towards the sky, as though stretching out to the suspended crown of lights, that seemed but one stage lower than the stars. ‘A Man You Can Trust’ This typescript of an unpublished, complete short story is on foolscap pages and about 2,000 words in length. The story, dominated by dialogue, concerns two young men in Brighton, Jim and Tallow, who pick up two girls, Peggy and Jean. The title, therefore, is ironic.

There is evidence of some slight editing by Greene. The manuscript is undated, but a deleted paragraph refers to The International Brigade, Spain, Germany, war and gas, suggesting the work dates from the late 1930s.

‘Limited Edition’ This short story, an ‘Exercise in Pornography’, copies of which exist in several places in the Georgetown archive, is a full fair copy in manuscript form included at the back of the ‘Black Book’ Greene gave to Catherine Walston. There is also a typed transcription of part of the manuscript; another typed transcription, together with the poem ‘After Two Years’; and the original autograph manuscript, torn and pieced together by Greene. The Black Book explains the origins of the story: ‘This technical exercise in pornography was written at the Hotel Palma, Capri, in December 1948 and torn into small pieces one night at Thriplow [Catherine Walston’s home] in a rage. The pieces were brought to Anacapri in February-March 1949 and reconstructed, a fascinating jigsaw. There was only one lacuna.’ The story in the Black Book occupies ten pages of Greene’s writing, around 6,000 words in total. It is written by a man to another man, about his memories of ‘Harriet’, with whom sex was better than with the narrator’s wife Louise. The affair lasted for three weeks in August in an unspecified year, when Harriet was nineteen and the narrator was living in a bedsit in London. There seem to be some autobiographical elements to the story – the writer is a journalist who goes to work in Nottingham and there is a reference to 227

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‘the King’s Arms hop’, echoing the poem ‘Portrait of a Place/ 2 The King’s Arms’, contained in the Black Book, referred to above. Some of the details in ‘Limited Edition’ also match a dummy Greene drafted for After Two Years. ‘An Aspect of Autobiography’ This is a prose ‘fragment’, the second piece of prose work at the back of Catherine Walston’s ‘Black Book’. It is set in 1925, when the writer comes to London and picks up a woman in Lisle Street with the intention of having sex for the first time. The piece is eleven lines long. ‘Mr Thurlow’s First Case’ This is an undated, unfinished short story about a private detective trying to solve a possible murder case. The manuscript comprises eight pages and is around 4,000 words in length. ‘Henry James Rewriting Fanny Hill’ This consists of one seventeen-line sentence, orotund and longwinded but gradually developing into a description of sex. It is a parody of James’s style, written half in pen and half in pencil. It is undated, but written on Eyre & Spottiswoode paper, placing it in time in the mid to late 1940s. ‘Meditation 109’ This begins with the sentence ‘To-day is Laetere Sunday and it is pleasant to think of joy but we ought to think about it . . .’. The seventeen-line typescript, with some amendments is dated 8 March, after which ‘[1964?]’ has been added later. ‘Synopsis for Play’ This is dated ‘New York. Oct. 1948’ and written on Tuscany Hotel notepaper. It 228

consists of an eighteen-page synopsis of a play version of The Heart of the Matter, written in three sections, ending with Scobie committing suicide with sleeping tablets.

Untitled Fragments There are two further, untitled fragments. The first is of just over 600 words and involves a down-at-heel wanderer who arrives wet and miserable at a car dump outside Slough and climbs into a car. The second is an undated, handwritten sentence on the back of a printed card bar menu for Linee Acree Italiane  – apparently an exercise in writing as long a grammatically correct sentence as possible (Greene notes ‘122’ at the end). It concerns someone with sweaty feet. ‘Defence of South Hinksey Area’ ‘Defence of South Hinksey Area’ comprises two documents on six pages of lined exercise book paper. Apparently, these are technical wartime exercises by ‘Capt.’ Greene of ‘Syndicate C’, composed in his best handwriting. Comments on one of the documents, in another hand, give ‘Points to note’ and ‘Otherwise good’, with initials and the date 26 9.41. The second document, dated Oct. 1 by Greene, has the pencilled comment ‘you have got the right idea’. The documents are marked ‘Secret’.

Published material in holograph manuscript form The Walston collection also includes a number of holograph manuscripts of significant published writings together with some more minor works mostly composed by Greene on ruled foolscap paper.

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‘The Point of Departure’ This is a handwritten manuscript of the novel eventually published as The End of the Affair dated ‘Jan. 11 1949 5 St. James’s Street’. There are some alterations to the manuscript, mainly in the form of additions. There is also an intriguing one-page outline plan for the book, dated December 1946 and written on RMS Queen Elizabeth stationery. The outline has Books One and Two, with six sections each, and dates and names (including Henry Miles, Rules, Parkis), plus Greene’s estimate of a number of pages for each section. Additionally there are two complete typed manuscripts of ‘The Point of Departure’, and a letter to Hugh Greene stating, ‘In the event of anything happening to me please send typescript of Point of Departure to Mrs. H.D. Walston . . .’ The Heart of the Matter There is an undated manuscript of the novel on 175 pages of ruled foolscap. Accompanying material includes a onepage draft outline, Greene’s fountain pen and a cloth-bound storage case for the manuscript. Loser Takes All The short novel is contained in a folder case embossed on the front cover, ‘For Catherine, Christmas 1954’. The Third Man The manuscript includes a few pages of additional material inserted at the end and a five-page preface. The title page has ‘The Third Man by Graham Greene. March 2-April 24, 1948. Rome, Capri, Ravello, Venice’ and a dedication to Catherine Walston.

The Complaisant Lover The manuscript includes a further two pages of dialogue with the heading: ‘Note. The language should be rather oldfashioned & formal.’

Minor Published Material in Holograph Form ‘All But Empty’ is the short story variant of the better-known ‘A Little Place off the Edgware Road’. Greene’s essay ‘A Stranger in the Theatre’, published first in Picture Post in 1953, expresses the thrill of writing a play and seeing it performed. There are two book reviews, one of The Complete Plays of Henry James, the other of Norman Douglas’s Footnote on Capri, published in The Sunday Times on 15 June 1952. Greene’s essay on Walter de la Mare’s Short Stories is both untitled and undated. This was published as ‘The Short Stories’ in the 1948 volume Tribute to Walter de la Mare on His Seventy-Fifth Birthday. The introduction to Venus in the Kitchen: or Love’s Cookery Book by Pilaff Bey and edited by Norman Douglas is similarly untitled but is dated, ‘Anacapri. May 1952’. The manuscript is much amended and added to, and has a burn mark in the corner.

Typed Manuscripts of Published Materials This collection is an assortment of Greene’s major and more minor writings. It is of considerable value and interest as several show the works in various stages of completion. Therefore, the typescript of The Quiet American comprises the first three parts of the novel, with handwritten corrections by Greene. A Burnt-Out Case is the first copy of the typed manuscript, with handwritten corrections by Greene 229

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and is inscribed by him to Walston. The Heart of the Matter consists of a typed manuscript of 102 pages, with a dedication to Catherine Walston dated 22 March 1950 together with a complete typed manuscript of 408 pages with handwritten corrections by Greene, again inscribed to Walston and dated November 1947. There are a number of typescripts relating to the first three of Greene’s plays. A typescript of The Living Room, dated 27 March 1952, is dedicated by Greene to Catherine Walston, with an accompanying note, ‘Begun Achill [Ireland] 1948 in the room next door. Finished 1952 at Kuala Lumpur all alone on the balcony of the British Resident.’ A further carbon copy, dated June 1952, has handwritten corrections by Greene and a number of pages of textual inserts. There are five other typed copies, one dated 11 December 1952 and inscribed by Greene ‘The first copy of the last draft .  .  .’, and another with the note ‘Not Final’. Additionally there are two copies of The Potting Shed and one of Carving a Statue, the latter with handwritten corrections by Greene and inscribed by him to Catherine Walston. The 106-page typed screenplay of Loser Takes All has handwritten corrections by Greene and is dated 27 January 1955. There is a ‘Second Master Script’ of 115 pages from 1955, typed but with handwritten insertions by Greene. The screenplay of The Comedians is marked as ‘1st Revised’ and dated 1 July 1966; again it is inscribed by Greene to Walston. It runs to 168 pages and 257 scenes and has very occasional corrections by Greene. 230

There are typescripts of three short stories, ‘The Root of All Evil’, ‘Cheap in August’ and ‘My Girl in Gaiters’. The latter is a typed carbon copy of a six-page manuscript. The title was the subtitle of the short story ‘Work Not in Progress’, first published in 1955. It reads less like a short story than notes on or a synopsis for a musical comedy. Three typescripts, ‘The Revolver in the Corner Cupboard’, ‘Heroes are Made in Childhood’ and ‘The Lost Childhood’ can be grouped together as autobiographical pieces written by Greene in the late 1940s. The wellknown ‘The Revolver in the Corner Cupboard’, about suicide attempts, is in the form of a typed manuscript with handwritten corrections. The typescript of ‘Heroes are Made in Childhood’ consists of five edited sheets with a note at the top, ‘Copy of Broadcast in Third Programme [of the BBC] March 1947’. Greene has crossed out the original title and substituted ‘Books of Divination’. However, the essay was published in the Listener on 27 March 1947 under the original title. The manuscript was originally inserted inside the front cover of Walston’s 1951 diary. ‘The Lost Childhood’ is a later version of the broadcast and essay version of ‘Heroes are Made in Childhood’. It was first published in this form in The Lost Childhood and Other Essays. Finally, in this section, there is the text of a speech delivered by Greene at Les Grandes Conférences Catholiques in Brussels in January 1948. It was published the following month under the title, ‘La Civilisation Chrétienne est-elle en Péril?’

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Proof Copies of Published Materials There are proof copies of published works with authorial corrections, some inscribed to Walston. These are of The Heart of the Matter (1948), Journey Without Maps (1949 and 1950), The Ministry of Fear (1950), The Living Room (1953), The Quiet American (1955), The Complaisant Lover (1959) and The Comedians (1965).

Other Material There are four letters from Greene to correspondents other than Catherine Walston, including one to Fidel Castro in February 1968 concerning a possible PEN Congress in Havana in 1969. There are twelve pieces of additional correspondence from Greene to Walston, not included in the main Correspondence Series – eight of them are telegrams and seventeen letters to Greene, dating mainly from 1948 to 1950. These are from a range of people, including one from his daughter, Lucy (Caroline). A three-page letter from his lover Dorothy Glover and dated 14 April seems to have followed a row and was written in the knowledge of Greene’s relationship with Catherine Walston, who is referred to unflatteringly by Glover. The letter has been torn in two. Finally, there are seventeen letters to Walston from correspondents other than Greene, including five from Greene’s wife Vivien.

Miscellaneous Material A great range of ephemera include a reading list drawn up by Greene for Catherine Walston; a handwritten list of prostitutes used by Greene, his Communist Party membership card from 1925, a gold

ring and ivory compact bought by Greene for Walston; extensive press cuttings by and about Greene; a copy of the very rare publication Graham Greene Demasqué/ Finally Exposed, published by the Haitian government in 1968 in reaction to The Comedians, and a large number of photographs of Greene. THE WALSTON COLLECTION OF GRAHAM GREENE

This collection numbers around 1,100 individual items. Not to be confused with the manuscript and correspondence referred to above, the collection consists mainly of published works by the author which were gifted to Catherine Walston. The exceptional quality of the collection is enhanced because Greene himself was instrumental in its formation – most of the first editions are presentation copies to Walston, many with intimate inscriptions and lengthy annotations. Mentioned above are the exceptionally rare copies of Greene’s poetry, After Two Years and For Christmas. There is a nearly complete run of English first editions of his published writings up to 1979, a very large collection of Greene in translation, many association volumes and a large group of books from Greene’s personal library. GRAHAM GREENE / ANTHONY BISCHOFF COLLECTION

The nine letters to Rev. Anthony D. Bischoff, S.J span the years 1950–84 and complement a larger collection, some thirty in number, in the Gonzaga University archive in Spokane, Washington State. Two letters, both written in 1983, are of interest for their expression of political 231

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views and the role of the Catholic Church in Third World countries. In the first, Greene viewed the Vietnamese invasion of Cambodia in 1978 as ‘an unfortunate necessity’ to rid the country of the dictator Pol Pot. Greene then switched his attention to Nicaragua, praising the efforts of the Sandinista leaders and singling out the works of Jesuit priests in bringing improvements in education and social welfare to the masses. Greene’s unconventional and radical attitude to Roman Catholicism was evident when he wrote in October 1983 that he regarded ‘sermons as an irrelevant part of the Mass’. He claimed that he tried to time his arrival at Antibes Cathedral for the closing sentences of the homily. He suggested that it would be better if the sermons were conducted in the form of a debate with the congregation rather than as a monologue. Although one might suspect that Greene was being deliberately and amusingly provocative, he did add a more thoughtful and serious observation on the matter, ‘To me one can leave the dead to the mercy and love of God if He exists and it’s more important to be fighting for the living against the merciless injustice of men.’ He went on to cite the work of Daniel Ortega and his companions in Nicaragua as examples of what he meant. THE ANITA BJÖRK COLLECTION

Anita Björk was a leading Swedish film and theatre actress. Greene’s affair with her during the second half of the 1950s, although passionate and committed at the time, was complicated by the writer’s continuing emotional entanglement with 232

Catherine Walston and Björk’s refusal to leave Sweden and her family for life with Greene in France. Despite a painful parting at the end of the decade, the pair remained in contact. A selection of Greene’s letters to Björk, some twenty-six in number, was donated to the university by her daughter in late 2006. They span the years 1971 to 1990 and are marked by expressions of tenderness and a measure of nostalgia enhanced no doubt by the passing of time. Three themes dominate this correspondence: Greene’s travels which account for inevitable delays in replying to Björk’s letters, discussions about his latest books and their critical reception and an ongoing problem with arranging a reunion. Despite usually demonstrating a measure of reserve, Greene on occasions expressed his emotions overtly, as in, ‘I wish you’d give me some personal news. How is Anita – and how is Anita Björk?’ In another communication he commented plaintively, ‘I too would like to see you in this life.’ Less than two years before he died there was a valedictory feeling to his remark, ‘Even though we separated you are often in my thoughts and remain very much part of my life – not of my past.’ Björk’s invariably encouraging words about his latest publication prompted some interesting responses from the compulsively self-critical Greene. Thus there was only relief felt about the appearance of The Human Factor which had been, ‘rather an albatross round my neck for more than ten years’. Although he was pleased that she had enjoyed the production of The Return of A.J. Raffles and thought Paul Rogers was ‘wonderful’ and the audience very responsive, he

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fretted over a divided reaction from the critics, ‘Some of them don’t like me to be funny.’ In a letter written in May 1989, Greene’s desire to express his personal distaste for Norman Sherry’s ‘monstrous exaggerated first volume’ of biography was mixed with concern that his former lover would be pestered in future. He advised her to ignore any advances; in a later communication he added on the back of the envelope, ‘Don’t let the beastly biographers hound you . . .’. The last letter, dated 12 September 1990, concerns his lifelong fascination with the workings of the human mind. Björk had told him about a recent dream about Padre Pio who Greene had met in the 1950s. He claimed that at the same time he had been reading proofs of a book on the Padre and was in the process of writing to the author giving him his impressions of the man. What might normally be regarded as mere coincidence was interpreted by Greene as, ‘A real case of thought transference’. GRAHAM GREENE – YVONNE CLOETTA COLLECTION

Yvonne Cloetta first met Greene in Douala, Cameroon, in 1959. Her husband Jacques worked in Africa and the couple had two children, Brigitte and Martine. Yvonne and the children later came to live in the south of France. The relationship between Greene and Yvonne Cloetta grew in the early 1960s, and his trips to the south of France became more frequent and prolonged. In 1966, Greene set up home permanently in Antibes. Cloetta, while remaining married to Jacques,

became Greene’s lover and companion, a relationship which lasted until his death. In 1992 she prepared extracts from Greene’s dream diary, A World of My Own, for publication. Her own account of her time with Greene, In Search of a Beginning: My Life with Graham Greene was published posthumously in 2004 and takes the form of a series of structured interviews with Marie-Françoise Allain. None of Cloetta’s letters to Greene in the Georgetown archives were included in Richard Greene’s Graham Greene: A Life in Letters. By Yvonne’s own instruction, the letters were under an embargo during the lifetime of her husband. At the same time, the letters at Georgetown seem to be a fraction of those Greene sent to her. William Cash’s book The Third Woman suggests that there are another 300 that have not been sold, or at that time seen by anyone other than Cloetta herself. He also quotes Cloetta as stating that the letters at Georgetown had been sold without her permission. A third of the letters in Georgetown – forty out of 121  – are from the period 1963 to 1965, before Greene’s permanent move to Antibes. From the first letter, of 19 July 1963, Greene’s deep relationship with Yvonne Cloetta is clear – ‘Dear dear love . . . I wanted to say I love you first thing in the morning . . .’. A day later he wrote another having just posted one, a letter begun in Kingston, Jamaica and finished in Mexico. Sometimes he was optimistic, as in July 1965  – ‘Have no fear about the future  – we are going to stay together’, sometimes downbeat, as in August 1972 – ‘Nothing seems to have any interest without you and without much hope for the future’. Yvonne’s marriage 233

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was sometimes under discussion: in July 1963 Greene wrote, ‘I want to be near you if one day you tell Jacques.’ In a letter probably dated December 1974, he wrote: ‘We’ve both been fighting together to try and guard the happiness of the others as well  – I think Martine and Brigitte are safe now, and if Jacques isn’t? we’ve really done our best. I wonder whether he wouldn’t be happier if we talked openly and left the decision to him  – to break with us or to allow us at least the freedom we used to have.’ Greene was at pains throughout the correspondence to emphasize his love for Yvonne. In July 1975 he wrote, ‘I love you more than I’ve ever loved anyone before  – perhaps it’s the first real love . . .’. But Greene’s letters are very far from being purely love letters. They are also a chronicle of his travels, many of them sent to her at his address in Antibes from such places as Cuba, India, Argentina and Panama. At times Greene reported on being in exciting or dangerous situations  – under gunfire near the Suez Canal in 1967, ‘All the same its given me a good article’, or in August 1978 meeting with Nicaraguan guerrillas ‘who want me of course to go there . . . don’t worry – I won’t go’. Often Greene was reporting on his hectic schedule of travelling – in August 1965 he looked forward to a September involving, in turn, Weston, a pub in Scotland, Paris, Nantes, Paris, London, Paris again, then London or Italy. While in August 1974 his recent and impending movements involved Bath, Wells, Bristol, a meeting with Peter Duffell, the television studios to see the first of his dramatized stories with Hugh, Oxford 234

and dinner with Vivien, Bepton with Max Reinhardt, Škvorecký in London, with the Laughtons for four nights, a visit to the oculist, then Berkhamsted with Hugh. In 1967 he reported from Cotonov in Dahomey, where The Comedians was being filmed, that fifty minutes of film rushes without sound are ‘very impressive and encouraging’. Occasionally his writing progress is logged – in August 1971 he wrote: ‘The book [The Honorary Consul] here goes limpingly  – I shan’t reach 80,000 I’m afraid.’ There were projects that never got off the ground  – in August 1972, ‘This morning lunch with Losey . . . we got on well and I agreed to work on Conrad’s “Secret Agent” in February’  – and ones which did: ‘Then Friday I lunched in London with Norman Sherry who wants to follow his books on Conrad with one on me!’ And in that same June 1975 letter, an intriguing tease. Greene went to London ‘to have lunch with “C” of the Secret Service  – we were by ourselves and it was most interesting!’ Although the majority of the Yvonne Cloetta Collection comprises correspondence it also includes manuscript material relating to the published memoir An Impossible Woman: The Memories of Dottoressa Moor of Capri, with which Greene had a long involvement. Greene’s letters to Cloetta from Capri contained news of Dottoressa Moor, and the folder for the manuscript of the book has his inscription ‘For Yvonne who knew the Dottoressa in all her moods’. The Viennese-born Dr Elisabeth Moor settled in Capri in 1926 and lived there almost until her death aged eighty-nine in 1975. Her striking appearance, colourful

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behaviour and work as a doctor made her a Caprese character. Greene knew her from the late 1940s, and Aunt Augusta in Travels with My Aunt is in part based on her. When Moor was confronted with grief and loneliness in later life, Greene suggested she set down her memoirs. Greene’s editor’s note to these memoirs explains the convoluted process involved in making the book. An interview conducted in German was recorded on tape  – the Georgetown manuscript suggests a date of January 1962. Questions were suggested by Kenneth Macpherson and Greene, who both knew her well. The interview was then transcribed into English, and from 1965 Macpherson tried to ‘translate the translation’ into readable English. After Macpherson’s death in 1971, Greene took on the task of completing this work. He added his editor’s note and an epilogue to the memoirs, and the book was published in 1975, the Dottoressa living just long enough to see a proof copy of the book. In his editor’s note Greene explains that one of his main tasks in editing the book was to reproduce on the page the very distinctive tone of voice of the Dottoressa, a woman who spoke in ‘vivid and incorrect English’. Greene also openly stated that he felt quite justified also in adding memories to the memoirs ‘which did not appear on the tapes because the right questions were not asked’. This editor’s note might lead to a suspicion that Greene himself was the real author of the book. The transcripts at Georgetown dispel such suspicion, but they do reveal the extensive work done by Greene to make the book publishable. The

folder containing the transcripts is labelled ‘First Corrected’ in Greene’s hand, but in effect there are two typed manuscripts in evidence, with page numbers not always continuous: Greene clearly had some sections retyped having made extensive reorderings to the material. A final folder of twenty-eight miscellaneous pages adds to this impression. The transcripts are not dated, the archive’s finding aid suggesting 1975, but if Moor saw a proof copy before she died in February 1975, this cannot be correct; much more likely is that Greene worked on the transcripts at some time between Macpherson’s death in 1971, and 1974. Greene also clearly decided that given the work he had put in, he should have the lion’s share of the credit for shaping the book. The first transcript has ‘Edited and Arranged by Kenneth Macpherson / with an Introduction by Graham Greene’ in Greene’s hand. But then Greene has had second thoughts: ‘and Arranged by Kenneth Macpherson’ has been struck out, and ‘by Graham Greene and’ added. Macpherson’s role in the book is then made clear in Greene’s editor’s note. He even states there that had Macpherson finished it, ‘it would have been so much the better book’. The title page of the published work has ‘Edited and with an Epilogue by / Graham Greene’. Greene’s extensive involvement took several forms. The question and answer format of the original interview is obliterated, with questions deleted and the answers made to form a continuous narrative. Greene adds occasional words or phrases to help the flow. There are some deletions, and re-paragraphing, with single sentences often grouped. There 235

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is quite a lot of reordering of material such as in Part  3 of the book and some sections are not included, because they are too fragmentary. As Greene admits in his editor’s note, memories – at least two evident in the typescript – are inserted in Greene’s own hand. There is a careful renumbering of pages and retyping. In summation, Greene’s involvement has avoided repetition and rambling but retains the cadences of the Dottoressa’s speech. He has rendered very difficult raw material readable. Greene at one stage has ‘A Wild One’ as the title of the book; his detailed work makes the memories themselves less wild. LEOPOLDO DURÁN PAPERS

Father Leopoldo Durán was a Spanish priest and academic who earned several degrees in theology, English Literature, Philosophy and Letters from universities in Rome, London and Madrid. Living in England for many years, he published a doctoral dissertation on Greene and the priesthood in 1971. He met Greene over lunch at the Ritz in London in 1973, beginning a friendship which lasted until Greene’s death. For ten years from 1976, Durán and Greene had an annual holiday in north-west Spain and Portugal, visiting among many other places Salamanca, Oseira Monastery and the grave of the Spanish philosopher Unamuno. They talked, drank wine and enjoyed scenic picnics together, and Greene’s 1982 novel Monsignor Quixote grew out of their travels. Father Durán became a visitor of Greene and Yvonne Cloetta in Antibes. He was at Greene’s deathbed in 1991, and published his memoir Graham Greene: 236

Friend and Brother in 1994. Durán’s papers on Greene, and his extensive library of books on and by Greene, came to Georgetown in 2012. Father Durán’s correspondence with Greene shows the development of their friendship. Durán wrote in 1964, asking some questions arising from the dissertation he was writing, and Greene replied briefly but helpfully. Greene’s second letter, in 1968, commented on an outline of Durán’s ongoing thesis, the third, in 1971, on the thesis itself  – including the comment, ‘I had no particular intention of dividing The Power and the Glory into thirteen parts. It is purely accidental.’ and ‘You must forgive me if I think you under-estimate Travels with My Aunt. In my mind it is the second best book to The Power and the Glory and a serious and sad book which just happens to be funny!’ In December 1975  – two years after they had met  – Greene wrote: ‘I have every intention to renew our too brief acquaintanceship at the earliest possible moment. I enjoyed our lunch together immensely and I’m determined to come and see you again in Spain.’ The frequency of their correspondence  – often brief letters from Greene and rather longer replies from Durán – increased in 1976, as planning for their first holiday went ahead. After that holiday, Greene wrote in August 1976: ‘thank you for our travels which I thoroughly enjoyed. They have rather confused me for everyday life. I miss killing a bottle of wine at eleven in the morning and drinking whisky on a mountain pass.’ Father Durán was addressed as ‘Dear Leopoldo’, and later ‘My Dearest Leopoldo’, while Durán

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once signed himself ‘Leopoldo (Your “whisky priest”)’. The pattern of their letters became established. There was much planning of their travels and ‘picnics’. Greene thanked Durán for articles, books, photographs and gifts he had sent, and kept him abreast of his often frantic travels around the world. There was humour  – Greene thanked Durán for yet another gift of handstitched handkerchiefs, commenting, ‘I now have enough Nuns’ handkerchiefs to last me until my burial.’ There were comments on Greene’s work as a writer: in 1977 he wrote ‘Your letter arrived today March 9 when I had just written the last words of a not very good novel [The Human Factor] which I began ten years ago. Even if I don’t publish it it’s a relief to have it off my back because I couldn’t get settled down to write something else as long as I was carrying the pack.’ Durán was also kept informed of Greene’s battle with the criminal underworld in the south of France – in a letter of February 1980 Greene told of a meeting with Daniel Guy: ‘The confrontation with Daniel took an hour and a half while his crooked henchmen waited in a car below! It ended with D raising both fists and saying, “Je suis un mur” (“I am a wall”) and me replying with a snarl, “Mais, Daniel, je suis aussi un mur.” (“But, Daniel, I am also a wall.”).’ Throughout the letters there was the warmth of Greene’s appreciation of Durán’s company and their travels together. In February 1979 Greene wrote: ‘How happy I have been with you the last three years in Spain, talking of everything and of everybody. You have certainly in our travels together helped me to love

your country, and now I look forward to next July and our drinks together and our long conversations, and our annual visit to Unamuno’s tomb.’ There was, too, Greene’s perception of Durán the academic: in the same letter he wrote, ‘You have made me understand my work better than I understand it myself and I am grateful to my work because it has brought me so understanding a critic and friend.’ In May 1985 Greene commented: ‘you certainly know more about what I am trying to do than anybody else in Europe.’ Greene also wrote in two Commonplace Books for Durán. The first, a luxurious red leather volume with gold edges, was started on 5 February 1977 and given to Durán on 9 August 1984. Durán had asked Greene to write an occasional brief sentence or two, in an album Durán supplied. Durán called it his ‘Picasso’. In many of its 201 pages Greene wrote quotations from a great range of people, from Chaucer to Saki, Clementine Churchill to Kierkegaard, Aristotle to Compton Mackenzie. There are a number of Greene’s own poems, including, ‘A Song Begun in Our Man in Havana’, never published elsewhere, and an untitled poem dated 26 December 1949 reading ‘The stripped trees and the grubbed fields and the passive sky/ and the craving for death:/ O You who gave Man too the blessing to die/ shorten the term of our breath.’ There are ‘Sayings of Chuchu’, a list of Greene’s favourite restaurants, and epigraphs from Greene’s novels. There is an explanation of what Greene thought was an important difference between the Catholic and the Communist, and a long statement about Greene’s own faith and belief, beginning, ‘I am to a certain extent 237

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an agnostic Catholic’, which Durán quotes in full in his Graham Greene: Friend and Brother. The second Commonplace Book is undated, but has entries from 26 July 1976 to 23 July 1989. It begins with various quotations in various hands, then has entries only in Greene’s hand. These entries are of four to ten lines each, and were written either when Greene went to Spain or Durán to Antibes. Father Durán’s sixteen small Nyman diary notebooks also cover their meetings and conversations in Spain and France. A further, unnumbered notebook covers the filming of Monsignor Quixote, with inscriptions from the director, writer and members of the cast. The first of these ‘conversaciones con Graham Greene’ begins ‘Madrid 16.7.76’, the last begins ‘15.2.1990’. Durán hurriedly wrote down in Spanish as much of Greene’s conversation as he could remember  – whether at the time or later is unclear. Their first journey in Spain, from 13 to 27 July, takes up 103 pages of the first diary. Later annotations by Durán are added in red or green, sometimes the annotation reads ‘CONFIDENTIAL’, with an index at the back of the diary. Occasionally Greene added recommendations for Durán’s reading  – the fifth diary has volumes by Trollope, Conrad, Hardy, Eliot, Narayan and some of Greene’s own short stories. The final diary has ‘LA MUERTE DE GRAHAM’ in green ink. It is clear that Father Durán used the diaries as one of his major sources for his book on Greene. The Durán Papers include much other material relating to that book, along with writings about Greene by Durán, newspaper clippings and an audio tape of Greene’s Memorial Service in 1991. 238

Father Durán had an important role in helping Greene with the novel Monsignor Quixote. The Durán Papers include a copy of ‘How Father Quixote became a Monsignor’, Chapter  1 of the eventual novel, together with a short preface by Greene. The chapter is inscribed by Greene, ‘For Leopoldo the opening section of a novel which will never be finished. It may remind him of our 1977 voyage and the flames of Hell in Badajoz. With love from Graham.’ Durán offered theological and other advice as the novel was being written. Some of this advice is included with the Durán Papers and in the ‘Graham Greene Papers’ there are copies of four letters Father Durán sent to Greene in the period December 1980 to March 1982. The longest, a letter of 8 February 1982, is very effusive about the magnificence of the novel. Durán advised Greene to be careful about some phrases used, including that describing the Mexicans. Enclosed in the letter are six card sheets with further comments or corrections, many of them concerning Spanish spellings. The letters of 21 February and 1 March returned to some of the same issues, and suggested further changes in phrasing. A sheet in Durán’s hand also gave some details of Salamanca, for Greene’s guidance, and four typed pages list books which Quixote might have in his library. Greene clearly took due note of Durán’s comments: his letter of 3 March 1982 states: ‘Your notes on the Monsignor are admirable and I have already altered the death sentence .  .  . I have also modified very much the Mexican business according to your notes.’ The papers also show that both he and Greene were involved in the making of the Thames Television adaptation of Monsignor

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Quixote, filmed in Spain in 1985 and screened in the United Kingdom later that year. In the relevant box there is an initial ‘Schema’ – a description of scenes, with no dialogue – done by Peter Luke in 1983; on the title page, Greene has written, ‘Incredibly bad.’ A screenplay by Luke dated January 1984 has, ‘As bad as the first. G.G.’ There are three pages of notes in red by Durán, some on theological points, accompanying a later screenplay by Christopher Neame, dated June 1984. A Neame shooting script of February 1985 has a change of dialogue at one point, apparently agreed on after a discussion between the director Rodney Bennett, Greene and Durán. Christopher Neame’s inscription of this script to Durán credits the help and advice of Greene and of Durán. Along with the Leopoldo Durán Papers, Georgetown also has Father Durán’s very extensive library of Greene volumes. There are English editions of Greene’s works, including some very rare items; in some cases, as with Babbling April, The Name of Action and Rumour at Nightfall, Greene has had the volume copied and bound for his friend, and inscribed them to him. There are multiple copies of many of Greene’s books in English  – a set of the Collected Edition, for instance – and copies in Spanish and a great many other languages. The collection also includes many critical studies of Greene’s works, some in English, some in Spanish. THE SIR HUGH GREENE COLLECTION

Sir Hugh Carleton Greene was Graham’s younger brother. He was educated at Berkhamsted School and Merton College Oxford, and from 1934 he was chief

correspondent in Berlin for the Daily Telegraph. In 1940, at the age of twentynine, he joined the BBC, and in 1960 he became its Director-General, a post he held until 1969. He is generally credited with, or in turn criticized for, liberalizing and modernizing the BBC. Graham’s letters to Hugh were acquired by Georgetown in 1984. In a letter to his nephew James in 1988, also at Georgetown, Graham wrote: ‘I am sure my letters to Hugh are extremely dull as I am no letter writer . . . Neither of us were very much letter writers except for business.’ The letters are often short and concern arrangements for the future. Nevertheless, Graham clearly had a great affection for his brother, and kept in frequent touch, particularly in the early and later periods of their correspondence: there are around 100 letters and postcards from the 1930s, and around 120 from the 1970s. Some of Graham’s early letters offer advice to Hugh: in May 1930 he warned him ‘Beware of University journalism fatal to “firsts” ’, and the following year he recommended Rules restaurant in London. After Hugh graduated, his brother looked for a career opening for him at the Film Institute, or in publishing. There are some insights into Graham’s own developing career, as when in November 1930 he wrote, ‘I’m glad you at least prefer “The Name of Action” to “The Man Within”, a view which seems confined in the family to we three and in the Press to “The Times” ’. He added that he was learning Spanish, ‘for the third novel [Rumour at Nightfall] of mental gloom’. There was much talk about travel, together or separately: Graham wrote in a 239

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postcard from Riga in May 1934, ‘This is a fascinating depraved spot. I could stay here for weeks.’ Later there are batches of letters dominated by details of projects in which the brothers were jointly involved. In October 1955 Graham asked if Hugh wanted to go ahead with the idea of an anthology of writing on spying; and between then and the publication of The Spy’s Bedside Book in 1957 there are almost thirty letters discussing what material should be included. On the back of a menu from a London restaurant (Roast Stuffed Veal on offer at 4s/6d) are over forty brainstormed ideas for inclusion in the book, from Max Pemberton, Erskine Childers and Burgess and Maclean to family members – Elisabeth and Herbert – and such oddities as ‘False moustaches’ and The Crazy Gang. Between 1973 and 1976 the brothers corresponded on Shades of Greene. In July 1974 Graham speculated on whether Carol Reed could direct the story ‘I Spy’: ‘Perhaps he’s too expensive?’ Elsewhere he commented on the finished product: ‘I found The Little Place [off the Edgware Road] rather nauseating as well as confusing.’ In 1983 Graham wrote about the book Victorian Villainies, a collection of four detective novels chosen by the brothers and published in one volume in 1984. In April he listed fifteen possible books for consideration for the collection, and Hugh added comments including ‘NO’ against five titles. The brothers emerge from the letters as very considerable bibliophiles, and by the 1970s they were regularly planning expeditions together around the secondhand bookshops of the United Kingdom. 240

Perhaps because of this joint love of books, Graham could be brutally honest with his brother In April he wrote: ‘I am afraid I found your new detective story very pedestrian and an obvious imitation in the deductions of Sherlock Holmes without any of the humour and plausibility of Holmes. I thought it a highly undistinguished book. Sorry.’ Family matters come into the correspondence on occasion. There is a copy of the order of service for Graham and Vivien’s marriage on 15 October 1927, and a few letters from family members other than Graham, including Elisabeth Dennys and Barbara Greene. A Graham letter of February 1931 also includes one from Vivien to Hugh, signed ‘Pussycat’. There is a letter from Herbert, included in the folder, concerning an autobiographical book he had partly written with the tentative title ‘The Four Greene Brothers’. Graham’s reply of January 1958 began, ‘I do strongly object to an autobiography of your flying under the false covers of a biography of your brothers. It seems to me to be a vulgar catchpenny notion.’ JAMES GREENE PAPERS

James Greene is the son of Graham Greene’s younger brother Hugh. He is best known as a poet and poetry translator having read French and Russian at Oxford. James seems to have met his uncle Graham on just four occasions, so their relationship primarily involved letter-writing. In 1989, Georgetown acquired from James Greene forty-three original signed letters from Graham and thirty-six typescript letters from James.

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There is also a spiral bound typescript of the entire correspondence entitled ‘Nepotism’, including poems originally sent to Graham, annotations to many of the letters by James, and a foreword by James entitled ‘On Not Getting to Know Graham: An Epistolary Relationship’. These letters run from November 1977 to May 1989. Later a further nine letters from Graham to his nephew were acquired by Georgetown, dating from March 1960 to May 1990. Many of Graham’s letters are quite short, James’s rather longer. In his avuncular role, Graham offered familial and literary advice, with sympathetic and encouraging comments on his nephew’s poetry. In May 1983 he declared some lines ‘unquestionably first class’. Occasionally he was sharp with James. For his part, James reflected on his aspirations as a poet, commented on his uncle’s work and related personal experiences like the death of his father. A few quotations give a flavour of Graham Greene’s letters. In November 1960, of Stockholm: ‘I warn you – no gay public life at night. You’ll find Copenhagen much more amusing.’ In February 1968: ‘Not being qualified to charge for my services as psychiatrist I am afraid I am far too busy to help you “exorcise and transcend” your personal life.’ In May 1983, on his psychoanalysis: ‘I did find my analysis, however interesting it made my dreams . . . negative in one way  – I found it took a year or more to regain the sense of beauty in colour, architecture, etc.’ In January 1986 he wrote, ‘Whatever induced Hugh to send you to Eton? I realise what a civilised school Berkhamsted was by contrast

and Hugh was happy at Berkhamsted.’ In December 1986 he stated, ‘I’m glad you didn’t think my verses were bad. I’m no poet.’ And in February 1988, on hearing that James was splitting up from his partner: ‘I am very much in a glass house, for I too have changed partners four times – no five.’ In his foreword, James Greene’s summarizes his uncle as one who was generous and sympathetic, but someone of strong opinions. SHIRLEY HAZZARD PAPERS

Shirley Hazzard was born in Australia in 1931 but was based in New York for most of her life. She is a prize-winning writer of novels, short stories and non-fiction. With her husband Francis Steegmuller, also a writer, she spent much time on the island of Capri, where from 1948 Graham Greene had a villa. Her short, elegant Greene on Capri: A Memoir tells of her meetings with Greene and the magic of the island. The Shirley Hazzard Papers are chiefly concerned with her friendship with Greene and with the publication of Greene on Capri. There is extensive correspondence from friends, literary associates and publishers, including Greene’s friend Michael Richey and Norman Sherry. An exchange of correspondence between Greene, Hazzard and Steegmuller between 1973 and 1990 includes around thirty from Greene. There are articles and news clippings by and about Greene included in this series, along with items like a menu from ‘Da Gemma’, Greene’s favourite restaurant on Capri, and the commemorative book of Greene’s 241

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honorary citizenship of Anacapri from 1978. The Hazzard collection also includes special first or limited editions of Greene’s books, some of them signed and inscribed to Hazzard and/or Steegmuller by Greene: The Man Within, Our Man in Havana, ‘Reflections on Travels with My Aunt’ and The Return of A.J. Raffles. A series of photographs includes Greene, Hazzard, Harold Acton and Norman Douglas. GRAHAM GREENE / PEDRO M. LOPEZ (CORTEZO) COLLECTION

This small collection of seven letters from Greene to a publishing acquaintance Pedro Lopez date between 1981 and 1989. Greene usually wrote his annual letter in January in response to Lopez’s Year greeting. He adopts a formal manner, ‘Dear Senor Cortezo’, throughout. As well as some personal matters, the letters touch on current literary topics and writers. Thus, Greene discussed the literary merits of Muriel Spark and Anthony Burgess as well as relating his ongoing ‘battle’ with organized crime in Nice which culminated in J’Accuse. His last letter in 1989 is of interest for Greene’s comments on the film The Fugitive, based on The Power and the Glory. More than forty years after the event, Greene stated ‘I never have [seen the film] because it would make me too angry.’ The director, John Ford’s major change which made the Lieutenant of Police rather than the priest the father of the illegitimate child was, in Greene’s eyes, a betrayal. He considered the stage version, directed 242

by Peter Brook with Paul Scofield as the priest, to be much better. GREENE / MARJORIBANKS COLLECTION

Sir James Marjoribanks was a career diplomat in the British Foreign Service who in retirement was chairman of the Robert Louis Stevenson Memorial Appeal. This aimed to erect a memorial in Edinburgh to Stevenson. The correspondence relates to Greene’s donation of an original manuscript whose sale could be used to help fund the memorial. Greene commented in his letter of October 1985 on his liking for Stevenson’s work: ‘Perhaps it gave me an inclination for narrative stories rather than for psychological explanations.’ In the following month he added: ‘I think it was Stevenson’s method of describing action without adjectives or adverbs which taught me a good deal. The reader may think that action is easier than dialogue, but the contrary is true, and so many writers get their action with the help of adjectives.’ Marjoribanks’s letter to Greene in February 1986 related that Raymond Greene had heard Pope Paul comment that Graham wrote like an angel. In his letters Greene also showed an interest in the site for the memorial, and offered advice about how to get the best price for the manuscript. The autograph manuscript he donated was of ‘A Weed Among the Flowers’, Greene’s account of his trip to China in 1957, which was published in The Times in May 1985. The manuscript and the accompanying letters were subsequently bought by Georgetown. The Stevenson memorial

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in Princes Street Gardens Edinburgh, sculpted by Ian Hamilton Finlay, was unveiled by Muriel Spark in July 1989. THE ALAN REDWAY PAPERS and THE ALAN REDWAY PAPERS ADDENDUM

In 1949 Greene granted permission to Alan Redway to become his official bibliographer. He was joined in 1953 by Neil Brennan and later, for a while, a third collaborator, Cecil Woolf. Redway died in 1983 and Brennan in 2006. Although their work was practically finished by the mid-1980s their bibliography has never been published. Helen Redway sold her husband’s extensive papers to Georgetown University in 1980 which has since acquired those of Professor Neil Brennan. Among the notes, listings and correspondence with publishers and booksellers there are letters from Greene to Redway, Brennan and Woolf. Besides giving information about some of his more obscure publications, Greene also commented on other matters relating to his work. The correspondence which spans a period of over thirty years is grouped into sections rather than arranged in strict chronological order. The writer gave a cautious welcome to Alan Redway’s initial approach in 1949, suggesting that he should seek advice from the American publisher Scribner. Later, when Neil Brennan separately announced that he too was preparing a bibliography, Greene was responsible for putting the two men in contact and subsequently collaborating on the project. Although it might have been expected that Greene would have shown scant

regard for the laborious process of compiling a bibliography, quite the opposite is true. Three examples from his early letters to Alan Redway illustrate the point. Answering a technical query in 1950 on binding variants for his books, Greene wrote, ‘I am not in the least bored by details of this kind as bibliography has always had a certain fascination for me.’ He showed a keen awareness of the importance of recognizing significant textual changes. For example he pointed out that the 1940 Penguin edition of It’s a Battlefield differed extensively both from the first edition and also from the Uniform edition. In a letter to Redway in 1954 Greene argued that as the Penguin edition had an entire episode omitted, which was subsequently reinserted in the Uniform edition, it was, he claimed, ‘the only case where the Penguin is an edition in its own right quite distinct from the others’. That he was a stickler for detail is evident in a much later letter where he bemoaned the fact that bibliographers frequently omit to mention, ‘those blurbs which have been written not by the publisher but by the author’. Arguing that these seemingly insignificant passages still form part of the author’s work, Greene cited the examples of A BurntOut Case and Travels with My Aunt in which he substituted his own blurbs for those produced by the publisher. Greene’s understandable desire for accuracy in this important record of his literary output is evident elsewhere. Despite relying on his memory alone, there was a characteristic assertion that only he was right in these matters. Thus, he was certain that the impresario Basil 243

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Dean had nothing to do with the script for the film Twenty-One Days. Similarly, he stated that Terence Rattigan was given credit on the screen for Brighton Rock despite providing the preliminary film treatment only. Greene himself had completed the screenplay. He also asserted that he had written the script for The Fallen Idol, collaborating mostly with Carol Reed. He was able, of course, to furnish his bibliographers with the kind of small, technical details which in turn serve to satisfy questions posed by researchers and academics. Commenting on the textual changes between the US and UK editions of The Third Man, Greene dispelled any notion that the alterations were made for any other than practical reasons. He stated that he had mislaid his original copy of the text and had to rely on memory and a cut version provided by the film company. He returned to the original manuscript in order to complete the UK edition. One of the problems faced by Redway and Brennan was to track down the author’s earliest published work. Some of his poems, essays and book reviews produced for small, low-circulation publications were anonymous or just carried the initials ‘G.G.’ or his full initials ‘H.G.G.’ Others such as his contributions to The Times and the Glasgow Herald carried no attribution. Therefore, a number of letters exchanged both in the 1950s and in the early 1980s relate to these short, forgotten but nevertheless significant pieces of writing. It is unsurprising that by the latter period Greene was enquiring of his bibliographers about articles he might have written sixty years previously, rather than the other way round. By contrast, the 244

writer was able to confirm that, on more occasions than previously known, he used pseudonyms in letters to the press or in competition entries. MICHAEL RICHEY PAPERS and MICHAEL RICHEY PAPERS PART 2

Michael Richey was briefly a monk before becoming an apprentice to the artist Eric Gill. After a wartime career in the Royal Navy he became a prominent navigator, transatlantic racer and writer. He was for many years one of Graham Greene’s closest friends, and at Greene’s recommendation he became editor of Bodley Head’s nautical series. In the major Michael Richey Papers at Georgetown there are photocopies of eighty-two letters from Greene to Richey (sometimes from Greene’s secretaries), from April 1954 to March 1991. Michael Richey himself contributed annotations to many of the letters contained in these papers including some of the letters from Greene. They cover many different subjects  – meetings in Brighton, where Richey lived, in Anacapri, in London and in Antibes; Greene’s books – The Power and the Glory, The Comedians, The Honorary Consul, An Impossible Woman, Getting to Know the General; writers and artists; friends and acquaintances and Richey’s sailing exploits. In Part  2 Papers there are also five photographs of friends at the restaurant Gemma on Capri, including Greene, Dr Elisabeth Moor and Michael Richey. Finally, the collection includes three letters to Richey from Shirley Hazzard, with comments on Greene, his biographers and Hazzard’s book Greene on Capri.

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The bulk of the very extensive and significant collection of books and manuscripts belonging to the residential and commercial property dealer Clinton Ives Smullyan Jr was sold at Sotheby’s London Auction House in December 1996. Smullyan, primarily a collector of seventeenth- and eighteenth-century English lexicography, commented at the time that he had decided to sell the archive because there was no more Greene memorabilia left to buy. Some of the 226 lots on offer which remained unsold following the Sotheby’s auction were later acquired by Georgetown University from Clouds Hill Books, New York. At the time of writing the Smullyan Collection has not yet been catalogued or incorporated into the Georgetown Graham Greene collections. Greene’s correspondence with Gloria Emerson spans the period April 1977 to February 1991. Emerson, an American journalist, interviewed the author at his home in Antibes in 1977 for Rolling Stone magazine. The interview, entitled ‘Our Man in Antibes’, was published in the March 1978 issue and later reproduced in Henry J. Donaghy (ed.) Conversations with Graham Greene. Greene thought that an interview for the politically aware and liberal Rolling Stone might be potentially ‘more amusing’ than one for the traditional and highly respected American title Atlantic Monthly. It is clear both from the resulting article and from the subsequent correspondence that, despite a marked age gap, the two writers developed a warm friendship based on mutual respect and shared views.

Subsequently, Gloria Emerson’s novel Loving Graham Greene was inspired by her fascination with the author following their one and only meeting in Antibes. For his part, Greene found much to admire in her fearless work as a war correspondent and particularly their intimate knowledge of Vietnam and America’s involvement there since the 1950s. Had it not been for what was clearly an instant rapport between the pair, the interview might have been the end of the matter. Soon after Gloria Emerson returned to the United States Greene wrote her a polite letter enquiring if she had put his Henry James Birthday Book in her ‘capacious bag’ by mistake. He added that the book recorded the birthdays of nearly all his friends and was of sentimental importance as well. No sooner had he thanked her for its return than he sent her another letter asking for his original copy of The Londoners to be returned. Emerson had borrowed it for photocopying purposes. Once those potentially embarrassing issues had been settled the correspondence fell into a regular pattern with Greene commenting about politics, travels, their respective work, adding from time to time some more personal reflections. It is interesting to note that Emerson used some information from the early letters in her 1978 article. Most importantly for one who was a stickler for accuracy, Greene congratulated her on the published article which he found ‘remarkably free from errors of fact!’. She had also chosen the right gift for him, a special bottle of gin, 95 per cent proof. Several letters refer to the gradual consumption of this most potent spirit which Greene tells her he 245

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enjoyed with a neighbour in the form of what must have been extremely dry Martinis. His letters in the period 1978–86 frequently refer to his visits to Panama and to their shared concerns about the Central American region. Five years after the death of President Omar Torrijos in a plane crash in July 1981, Greene was of the view that the General’s death was orchestrated by the Americans. He claimed to have information from the Canadian manufacturers of the plane that insurers were not allowed access to the crash site because they were told, ‘there was nothing to be seen’. Invariably, Greene commented on the publication of many of his later books or his current writing project. Thus, in February 1979 he used his total preoccupation with ‘a very short novel of about 25,000 words’, Doctor Fischer of Geneva or The Bomb Party, as an excuse for not accepting Emerson’s offer to visit Nantucket. Later that same year he stated pessimistically that he had just completed a farce and a ‘curtain-raiser’, For Whom the Bell Chimes and Yes and No, which ‘nobody wants’. Emerson’s admiration of the film of The Human Factor, which she had seen twice, elicited a similarly gloomy response. Greene thought it was ‘awful’, condemning particularly the Moscow scenes ‘with a paper Kremlin hanging out of the window’ and Richard Attenborough’s portrayal of Daintry as ‘a kind of out-of-date Blimp and a cheery Blimp at that, when he was intrinsically a lonely and unhappy man’. Despite regular offers, Gloria Emerson never returned to Antibes. Nevertheless, their relationship was close enough 246

for Greene, notably in the last three years of his life, to comment on more personal preoccupations and inevitably his deteriorating health. He expressed fatherly concern about her safety when visiting trouble spots in Central America and Israel. He complained about being hounded by the press at his favourite restaurant in Antibes and even on the telephone. In March 1990 Greene excused his delay in replying to a letter as he had been ‘sick and away’. By the end of October he was putting a brave face on his now terminal illness, ‘I am trying to fright enemies with blood transfusions’. His last letter, written less than two months before he died, turned to the subject of dreams, a topic which had preoccupied him for much of his life. There was remarkable clarity of thought in his rejection of both Freudian and Jungian interpretations. Greene argued that he could prove from his dream diaries the theory ‘that dreams take incidents from the future as well as the past’ and that it was dreams that refreshed the mind, not sleep itself. However, there was finality in his closing comment, ‘I’m in the same state of bad health which is likely to continue to the bitter end.’ The collection contains two items relating to Greene’s 1958 novel Our Man in Havana. The first is the screenplay for the film of the book, directed by Carol Reed and released in the United Kingdom at the end of 1959. Greene’s screenplay is of 143 foolscap pages covering 130 scenes, and is dated 12 January 1959. It includes detailed notes on nine of the principal characters  – those on James Wormold, for instance, begin: ‘He has lived for 20  years or so in Havana,

Wheaton, Illinois

earning about £1,200 a year by this time, as the agent for an Anglo-American vacuum cleaner firm.’ The screenplay has no handwritten amendments, but thirteen of the pages have notes at the top giving the dates of revision – dates in February and March 1959, presumably just before or during filming. An extra page, 20a, has been added. The collection also has the libretto and published libretto and score of the opera version of the book. The opera, first performed at Sadler’s Wells Theatre in London on 2 July 1963, was composed by the Australian Malcolm Williamson with a libretto by Sidney Gilliat. Greene himself had been approached to do the libretto but declined. The libretto runs to 103 pages, the published libretto and score to 284 pages. The opera has three Acts, in English with some lines and singing in Spanish. Here the central character Wormold has become ‘Bramble’. The opera ends at a different point to the novel – after the death of Carter, Bramble returns to his alcoholic game of chess and says to a waking Segura: ‘Your move, I think, Captain Segura.’

news-clippings on Greene, a copy of an article by Greene and copies of an article by Sykes on Greene and Waugh. BERNARD AND BARBARA WALL PAPERS I and II

Bernard and Barbara Wall were English Catholic intellectuals and writers who founded the Catholic Worker newspaper. This collection of their papers consists mainly of correspondence with a range of people, including Tom Burns, Harman Grisewood and Michael Richey. In Papers I there are five letters from Greene dating from 1940, 1946 and 1965. Most are brief and business-like; the last states that Greene preferred not to join organizations. A further letter from him in Papers II dates from 1978 and concerned a demonstration. In Papers I there are also five letters and two photographs from Vivien Greene to Barbara Wall, one from 1949, the rest from the period 1988 to 1995.

Wheaton, Illinois WHEATON COLLEGE

CHRISTOPHER SYKES PAPERS

MALCOLM MUGGERIDGE PAPERS

Sykes was an English novelist and friend and biographer of Evelyn Waugh. Among his extensive papers at Georgetown are thirteen letters from Greene. Three concern Sykes’s book Crossroads to Israel ; four, from January 1967, concern a piece by Greene for a memorial BBC broadcast about Waugh; and six, from 1974 and 1975, mainly relate to Sykes’s official biography of Waugh, which was published in 1975. There are also two

Seventeen items from Greene to Muggeridge run from 1965 to 1985; six of these are also in the Boston archive and are covered in that section and not repeated here. In 1976 Greene wrote about what he claimed were two defamatory passages in Martin Green’s book Children of the Sun, linking the names of Greene and Muggeridge with Kim Philby’s defection to Moscow in 1963. Several of the letters are not dated clearly but seem to come 247

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from the early 1980s, often concerning the two men meeting. In one letter Greene reminded Muggeridge of Hudson-Smith, a fellow member of ‘the old firm’ [SIS] who had come to live in the same flats in Antibes as Greene – ‘A nice chap who collects books on flagellation’. In December 1981 Greene wrote that ‘I come to England nowadays with reluctance for a few days to see my rather large family, a surgeon and a doctor, and then depart again’, adding ‘Here I’m locked in a conflict with the criminal milieu of Nice.’ Greene congratulated Muggeridge on becoming a Catholic in

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November 1982, but in an undated later letter there is a testier tone  – ‘After all the publicity you gave out on becoming a Catholic I hope that occasionally you go to Confession.’ Greene concluded, ‘You can sell this letter. I prefer not to sell what I know of you.’ A clue to Greene’s meaning might come in two articles on him by Muggeridge, both in the archive – in one of which he quoted from Greene’s letter of November 1982 about Muggeridge becoming a Catholic. In a letter of November 1985 Greene wrote more warmly, including some of his memories of Night and Day.

Archives in Canada Hamilton, Ontario MCMASTER UNIVERSITY GEORGE EDWARD GORDON CATLIN COLLECTION

In July 1940, Greene wrote a letter from the Ministry of Information in London to the political scientist and philosopher, concerning the possible use of Catlin’s book The Anglo-Saxon Tradition. Two letters from Greene’s secretary date from 1951, when Greene was away in Indo-China. GABRIEL FIELDING COLLECTION

Fielding was the pen name of the Englishborn writer Alan Barnsley. The ten letters between 1952 and 1954 begin with Greene stating how much he had enjoyed reading Barnsley’s poems. The two met for a drink, despite Greene’s hectic schedule, and they continued to try to arrange meetings. Greene thanked Barnsley for recommending Abidec multivitamin fluid. In September 1953 Greene wrote regretting that Barnsley had placed his new novel with the publisher Hutchinson; the following year he wrote offering constructive criticism on Barnsley’s latest book. JAMES KING COLLECTION

Professor King of McMaster University wrote to Greene about the biography

of Hebert Read he was researching (eventually published in 1990). In four letters in reply, 1987–8, Greene wrote about the letters he had from Read, and arranged for them to be photocopied and sent to King.

Toronto, Ontario UNIVERSITY OF TORONTO RONALD BRYDEN PAPERS

Greene wrote a handful of cheery letters to Ronald Bryden when the latter was drama critic of the New Statesman. In October 1964 Greene thanked him for an encouraging review, and two months later was happy to arrange a meeting with him; by April 1965 they had met. At Bryden’s suggestion Greene went to see John Arden’s Sergeant Musgrave’s Dance, and in December 1965 Greene wrote two letters seeing a parallel not with Thomas Hardy’s work, as Bryden had done, but with John Masefield in the 1920s. Greene recalled his visits to Masefield at Boars Hill near Oxford at that time. In a further letter, perhaps of February 1966, Greene commented on the novelists V. S. Pritchett, Angus Wilson and Kingsley Amis: ‘The first I respect, the second I laugh at, and the third I despise’.

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Toronto, Ontario JOSEF ŠKVORECKÝ PAPERS

Josef Škvorecký was a Czech-born novelist who fled to Canada in 1968; he later became a publisher of works in the Czech language, and professor of English at the University of Toronto. There are over forty original letters from Greene to Škvorecký at Toronto, beginning with one of April 1966 in which Greene regretted that the two could not meet. In early October 1969, after the Soviet invasion of Czechoslovakia, Greene wrote in appreciation of Škvorecký’s novella Emöke, and offered to help if Škvorecký wished to move to England. In the event, Škvorecký returned to Czechoslovakia after the invasion, and Greene wrote later in October admiring his courage and offering to help if he got into serious difficulties there – either by organizing agitation on his behalf, or by Greene going to Czechoslovakia. Subsequently, Greene went to Prague, only to find that Škvorecký had left again in January 1969. In February Greene wrote to Škvorecký expressing his disappointment at not meeting him but giving details of his ‘visit of protest’  – doing ‘all the things that I refuse to do in the West – television, radio, interviews etc .  .  . exhausting but rewarding’. In a further letter later that month Greene gave details of two ‘physically repugnant’ men he had met in Prague and asked for gossip about them. Greene wrote a total of ten letters to Škvorecký in 1969, thanking him for his long and detailed letters, discussing details they contained about developments in Czechoslovakia and the USSR and asking whether Škvorecký planned to return

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to his homeland. He did not: after some time in California, he settled in Toronto. Greene wrote of films and film work, and their respective works, offering advice to Škvorecký on publishing. In September 1969, with Travels with My Aunt safely in the hands of the publisher, Greene was without much work to occupy him: ‘If I were younger I would get into mischief, but my days of mischief are over’, he commented. In May 1970 Greene offered a sentence in praise of Škvorecký’s novel The Cowards, for use by his publisher. In October he commented that he was ‘delighted’ that Solzhenitsyn had won the Nobel Prize, and speculated on whether he would go to pick up the award in Stockholm. Greene continued to encourage Škvorecký in his writing, and to offer help to him and his wife. He told him of some of his travels, including trips to Finland, Chile and South Africa. In October 1971 he gave Škvorecký answers to printed interview questions on various topics, including his views on the ‘Czechoslovak Spring’ of 1968, the persecuted writers Sinyavsky and Daniel, whether Catholic clergy should be allowed to marry (Greene was against it) and reforms in the ritual of the Mass (Greene said he did not much like them). Greene wrote to encourage Škvorecký to meet director Peter Glenville, and his niece Louise Dennys, when they were in Toronto. Two letters from Škvorecký to Greene in the file give some context to the letters he was replying to – long, closely typed and full of anecdote about the Czech literary and political scenes. Greene’s much shorter

Victoria, British Columbia

answers clearly show that he relished these letters and their often gossipy details, and more than once Greene urged Škvorecký to gather the stories together and to have them published. Intriguingly, in June 1972, in a letter about his works being published in Czechoslovakia, Greene commented on the information Škvorecký was supplying: ‘P.S. There are times when I long to pass some of your letters on to my former service, but I don’t trust anyone connected with Intelligence not at some time or other by stupidity or on purpose to betray the source’. Despite Greene’s obvious keenness to meet Škvorecký, on the evidence of these letters which end in 1973, they did not succeed during this period.

Victoria, British Columbia UNIVERSITY OF VICTORIA JOHN BETJEMAN COLLECTION

Thirty-three letters and one telegram begin in 1933 with Greene trying to persuade Betjeman to contribute to his forthcoming volume The Old School, with an essay on Marlborough School.

‘I’m not going to lay down any rule that the essays must be unfavourable’, Greene wrote, ‘but I have the sweet hope that the result will be devastating’. In the event, Betjeman did not contribute an essay. In 1937 Greene invited Betjeman to write articles on stately homes for Night and Day, and in the following year he tried to enlist his support in joining an ‘Association of Perpetual B.A.’s, of people pledging never to take an M.A. Greene wrote a long and humorous letter in October 1941 from a nursing home in Oxford, where he was recovering from flu and bronchitis. He recounted how he had signed up with the Colonial Office for service in West Africa, only to find himself subjected to military training on, among other things, how to motorcycle – with disastrous results. All the remaining letters, from 1944 to 1948, are written from the publishing company Eyre & Spottiswoode, as Greene recommended books for Betjeman to read and review for the Daily Herald. He also invited Betjeman to write an introduction to an Oliver Onions novel for the Century Library series.

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Part Two

Listings In many archives containing correspondence, there are letters both to and from Graham Greene. In both Part 1 and 2 of this book, the main focus is

on the letters Greene wrote, and in the listings below, letters referred to are from Graham Greene or his secretaries, unless otherwise stated.

Archives in the United Kingdom Aberystwyth, Dyfed NATIONAL LIBRARY OF WALES

www.llgc.org.uk/ THE EMYR HUMPHREYS COLLECTION

(1940–88): nine letters to Humphreys; one from Ronald Bottrall to Greene. NOTE: The University of Birmingham houses the Noël Coward Collection including correspondence with Greene. A recent enquiry elicited the response that all of Coward’s correspondence is closed and not available for research purposes.

SxMs60/3/1/5/7: Box 14: Editorial Correspondence, A-G (1953): one letter from Martin to Greene. SxMs60/3/2/1/7: Box 20: Editorial Correspondence (1958–65): 26 letters, two from Greene, but most from his agent Pollinger. SxMs60/4/1/9: Box 30: Review Correspondence Go-He (1967–88): seven letters, three from Greene.

Bristol UNIVERSITY OF BRISTOL LIBRARY: SPECIAL COLLECTIONS

www.bristol.ac.uk/library/ PENGUIN ARCHIVE

Brighton, East Sussex UNIVERSITY OF SUSSEX LIBRARY: SPECIAL COLLECTIONS

www.sussex/ac.uk/library/ THE KINGSLEY MARTIN ARCHIVE

SxMs11/3/1/88 – Box 12: Correspondence E-H (1957–58): three letters to Martin. THE NEW STATESMAN ARCHIVE: 35 items:

SxMs60/3/1/3/7: Box 7: Editorial Correspondence, A-G (1952): one letter to Martin.

1943–94: DM1107/97–3097: 10 files within this range each containing correspondence, contract details, sales figures and associated materials relating to individual book titles. DM1952/42–596: 21 files within this range with similar content to the above. DM1294/5/31: correspondence relating to Penguin 50th Anniversary. DM1819/17; 1819/26/1; 1819/27/10: correspondence regarding book covers and the Penguin court case concerning publication of Lady Chatterley’s Lover. DM1843/8: letter to Eunice Frost.

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Cambridge, Cambridgeshire HAMISH HAMILTON ARCHIVE

DM1352/1i, 1ii (1935–64): approximately 50 letters.

Cambridge, Cambridgeshire CAMBRIDGE UNIVERSITY CAMBRIDGE UNIVERSITY LIBRARY: Special Collections: Department of Manuscripts and University Archives

www.lib.cam.ac.uk/ A. P. M. BOYLE:CORRESPONDENCE AND PAPERS: MS Add 9429/IG/97 (1979): one letter concerning Boyle’s book The Climate of Treason, in which Greene called Philby ‘a very able man’. PAPERS OF JOHN WAYNFLETE CARTER: MS Add 8239/2 (1963–4): four letters to Carter. (MS Add 8232/23 also has material related to the 1966 book Victorian Detective Fiction: A Catalogue of the Collection Made by Dorothy Glover and Graham Greene, which Carter edited and introduced  – including a copy of Greene’s preface to the book.) ‘FEMINA VIE HEUREUSE PRIZE’ ENGLISH COMMITTEE: MINUTES AND PAPERS: MS Add 8900/5/8/6 (undated, probably mid-1930s): one letter. WILLIAM GERHARDIE PAPERS: MS Add 8292/31/40–44 (1947–72): three letters to Gerhardie, one to Mr ParkhillRathbone. PAPERS OF STANLEY MORISON: MS Add 9812/D117 (March 1946): a letter to the editor of The Times Literary Supplement, enclosing a book. 256

ARCHIVES OF THE ROYAL SOCIETY OF LITERATURE: MS RSL (1947): two letters concern Greene becoming a fellow of the RSL and attending one of its meetings. CHURCHILL COLLEGE: Archives Centre

www.chu.cam.ac.uk/archives Papers of Cecil Roberts: RBTS 2/15 (1960–73): five letters. KING’S COLLEGE: Archive Centre

www.kings.cam.ac.uk/archive-centre/ PAPERS OF JOHN DAVEY HAYWARD: JDH/26/40: GG/JDH/1–8 (1931–64): eight letters. MAGDALENE COLLEGE: Pepys Library Archives

www.magd.cam.ac.uk/library/ I.A. RICHARDS PAPERS: 45 (1967): one letter encouraging the literary critic and rhetorician to resign from the American Academy-Institute of Arts and Letters over the issue of US involvement in Vietnam. QUEEN’S COLLEGE: Old Library: Rare Book and Special Collections

w w w. q u e e n s . c a m . a c . u k / t e a c h i n g learning/library J.M. COHEN COLLECTION (1970): one letter to the translator Cohen about a book by ‘Pablo’. ST JOHN’S COLLEGE: Library: Special Collections

www.joh.cam.ac.uk/library/

Durham

CECIL BEATON PAPERS: A1/223 (1953): one letter about a collection of photographs.

Durham DURHAM UNIVERSITY LIBRARY: Archives and Special Collections

www.dur.ac.uk/library/ PLOMER COLLECTION: 34/1, 84/2–3 (1946 and 1963): three letters. Ref 255: four letters from Plomer to Greene.

Edinburgh THE NATIONAL LIBRARY OF SCOTLAND: Manuscript Collections

www.nls.uk/ THE MURIEL SPARK ARCHIVE: Acc 10607/85, /87–88, /90–98, /100, /102–103 (1954–89): 33 letters to Spark, two to Derek Stanford and six from Spark to Greene. THE JOSEPH MACLEOD PAPERS: Acc 10509/5 (1955–82): ten letters, and six from Macleod. THE JANET ADAM SMITH PAPERS: Acc 12342/15 (1948–87): 26 letters, and five to Greene. THE ALAN BOLD LETTERS: Acc. 10374/1 (May 1986): one letter.

Exeter, Devon UNIVERSITY OF EXETER LIBRARY: Special Collections: Archives and Manuscripts

www.exeter.ac.uk/library/

A. L. ROWSE COLLECTION: MS 113/3/1/G (1940–1): six postcards and six letters.

Hull, East Yorkshire HULL HISTORY CENTRE

www.hullhistory.org.uk/ PAPERS OF PHILIP ARTHUR LARKIN: U DPL2/3/49/22 (1960): Greene’s reply to a questionnaire from Larkin, Hull University Librarian, about being asked to donate or sell his manuscripts.

Leeds, West Yorkshire LEEDS UNIVERSITY LIBRARY: Brotherton Special Collections

library.leeds.ac.uk/ ELLIOTT COLLECTION MS GREENE

Doctor Fischer of Geneva or The Bomb Party (1978–80): six folders with ten sheets of notes, signed holograph manuscripts, typescripts with author corrections, proofs and printed copies  – English advance proof copy inscribed and with holograph draft letter, American advance proof copy, English first edition, American limited signed edition and first American edition. The Honorary Consul: typescript photocopy with corrections, dated ‘September 1969 to September 1972’. Contracts for the translation, reprinting and film rights to a number of Greene’s works (Stamboul Train

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to The End of the Affair), with details of sales, royalties, some notes and correspondence. Loser Takes All (1954): proof copy with amendments and corrections by Vivien Greene. ‘How Father Quixote became a Monsignor’ (1978): holograph manuscript, and of the Preface to the 1980 limited edition. ‘The Blessing’ (1964): holograph manuscript and typescripts. A World of My Own (1990): typescript with holograph additions. Letter concerning Juan Gelman (1987): holograph manuscript and typescript draft. ELLIOTT COLLECTION GRE

Babbling April (February 1926): inscribed by Greene to Helen Laws. The Man Within (13 June 1929): inscribed by Greene to Vivienne Greene, with a holograph poem. The Name of Action: two copies, one inscribed by Greene to Vivienne Greene, 6 October 1930. It’s a Battlefield (1934): a first edition copy inscribed by Greene ‘For David and Anne in London, and for Nils and Ingeborg in Oslo.’ Journey Without Maps (1936): Greene’s own copy, with holograph revisions for a later edition. Four Beatrix Potter tales, three inscribed by Greene to Vivien (‘Pussina’). Night and Day magazine (1937): complete original run. English Doll’s Houses of the 18th and 19th Centuries (1985) by Vivien Greene, inscribed by her. 258

ELLIOTT COLLECTION MS WAUGH: Brideshead Revisited (a 1944 copy), inscribed by Evelyn Waugh to Greene, has inside a letter (1989) from Greene to book collector Jeffrey Young about the copy. BROTHERTON COLLECTION MS 20c Herbert Read correspondence (1966–8): 14 letters to Read; one from Read to Greene. BROTHERTON COLLECTION MS 20c Box F16 Piers Paul Read correspondence (1969–86): 24 letters to Piers Paul Read; nine from Read to Greene. BROTHERTON COLLECTION Read A series of Greene’s books from the library of Herbert Read and his wife Margaret (Greene has inscribed many of them to her, as ‘Ludo’), including ‘A Visit to Morin’ (1959  – Read B99), ‘Mr Visconti’ (1969  – Read B225) and Authors Take Sides on Vietnam (1967  – Read D4931).

London BRITISH FILM INSTITUTE: Reuben Library: Special Collections

www.bfi.org.uk/education-research/bfireuben-library MICHAEL BALCON COLLECTION: F/7 (1942): folder of production material relating to Went the Day Well?, under the title ‘They Came in Khaki’. BFI ARCHIVE: Box 125 and LH/10 (1970): brochure accompanying Greene’s appearance at the BFI in the John Player Lecture Series in February 1970, including a reference to a film

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of The Living Room then currently in preparation by Michael Powell, with a cast including Richard Attenborough; and incomplete transcript of an interview with Greene. BRITISH BOARD OF FILM CENSORSHIPSCENARIO REPORTS (1946–7): two reports on the film script of Brighton Rock. ADRIAN BRUNEL: Box 58 (1952): one letter to and from Greene. TREVOR HOWARD COLLECTION: TWH/24/8 (1976): diary, with references to Greene. ROBERT LENNARD: Box 12  – WRL/61/1 (1969): letter to Bryan Forbes with casting suggestions for a film of The Living Room, plus a note which refers to Michael Powell. LONDON FILM PRODUCTIONS

C/020 (iv)-(v): Correspondence and memoranda relating to The Third Man and research in Vienna. C/044 (i)-(ii) (1940–6 and 1958): correspondence and agreements relating to The Power and the Glory/The Fugitive. C/044 (iii)-(vi) (1947–53 and 1968): correspondence, agreements, contracts and memoranda relating to ‘The Basement Room’, The Third Man, The Heart of the Matter and ‘The Harz Mountains Story’ 1947–53; one letter (1968) in which Greene stated of The Third Man: ‘the whole screenplay was my work – naturally in consultation with the director’.

Item 192 (1966–7): scripts and other material on Brighton Rock. Item 197 (1978–9): correspondence on The Human Factor; eight letters. Item 269 (1968–74): correspondence; four letters. Item 380 (1965): correspondence; one letter. CAROL MARSH COLLECTION: CM/1/1 and CM/1/2: copy of a book on the film Brighton Rock (1999), and photographs of Marsh as Rose (undated). MICHAEL POWELL COLLECTION: Box 26: The Living Room: master script (1961); screenplay by Greene, Powell’s version, synopsis by Powell, holograph and typed (all undated). CAROL REED COLLECTION

The Fallen Idol (1947 and undated): typed first treatment, two scripts and script notes. No Man’s Land (undated): typed script. The Third Man (September 1948): story outline, draft script and Reed’s annotated shooting script. Item 56: The Third Man: Conference notes, correspondence relating to the US production code and correspondence with London Film Productions relating to publicity. BASIL WRIGHT COLLECTION:

BCW/5/3/8 and /20 (1972 and 1976): correspondence; three letters concerning Greene.

JOSEPH LOSEY COLLECTION

Other Screenplays

Item 158 (1972–3): correspondence on The Secret Agent; nine letters.

Across the Bridge: S13880 (August 1957): post-production script. 259

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Brighton Rock: S13038 (undated): ‘3rd Shooting Script by Roy Boulting from the Screenplay by Graham Greene and Terence Rattigan’. S4669 (undated): bound release script. Confidential Agent: S17412 (May 1945): final screenplay. Doctor Fischer of Geneva: S19875 (March 1981): Screenplay, 2nd draft, by John Mortimer (not used). DFG/1 (1983–4): shooting script, with shooting schedule and other material. England Made Me: S2931 (September 1971): 2nd script. The Fugitive (based on The Power and the Glory): S10059 and S1124 (undated): two copies of release dialogue script, one with annotations. The Green Cockatoo: S11329 (undated): release script; ‘Original Story and Scenario Graham Greene . . . Screen Play and Dialogue Edward O. Berkman’. This Gun for Hire: S8842 (October 1941): screenplay synopsis by Allinda Allen. The Heart of the Matter: S10464 (August 1952): third draft screenplay. S10465 (undated): shooting script, with annotations and deletions. S4723 (July 1953): post-production master script; ‘Adapted by Lesley Storm’. The Honorary Consul: S15055 (undated): screenplay second draft by Peter Duffell and Desmond Cory (not used). S11667 (September 1982): final screenplay by Christopher Hampton. S11331 (September 1983): release dialogue script. 260

The Human Factor: S11294 (undated): release script. Loser Takes All: S10427 (December 1955): ‘Revised Shooting Script by Graham Greene and Ken Annakin’. The Man Within: S17411 (1946): second script. May We Borrow Your Husband?: S20402 (1985): teleplay by Dirk Bogarde, with a letter outlining Bogarde’s criticisms of the original story. The Quiet American: S2377 (February 1958): release script. A Shocking Accident: S6300 (1982): screenplay. The Third Man: S1301 (undated): post-production script. S2790 (undated): release script. Twenty-One Days: S292 (undated): release script. S7016 (May 1937): final shooting script. Two Gentle People: JME/85 (1975): camera script of the story from the Shades of Greene series. Went the Day Well?: S13256 (1942): dialogue script. S15211 (1942): final shooting script. THE BRITISH LIBRARY: Department of Western Manuscripts

www.bl.uk/ The British Library does not have a discrete Graham Greene archive. The relevant material is drawn from a number of different holdings. Therefore the order in the Listing below is the same as that used in Part 1 of this book. All reference numbers here should be prefixed by ‘Add MS’, except as otherwise stated.

London CORRESPONDENCE

Greene’s letters to his parents

Richard Aldington

Loan MS 107 (1921–59): over 400 letters and postcards from Greene to his parents.

RP 9340/2 (undated, 1954 and 1960): photocopies of a pamphlet, review and letters relating to Aldington’s Pinorman.

Anti-Apartheid Movement 80776 (1963): correspondence and papers of Freda Troup; two letters in which Greene agreed to his name being included on the list of authors who would not allow their plays to be performed before audiences where a colour bar applied.

Ronald Harwood 88881/4/30 (1983 and 1988): two letters; 88881/5/3 (1975): interview transcript; 88881/6/28 (1974): one letter; 88881/6/34 (1973 and 1978): two letters.

Mervyn and Maeve Peake 88931/11/2 (1943 and 1954): two letters; 88931/13/3/16/2 (1959 and 1961): one letter to Mervyn, one to Maeve.

J. G. Ballard

Kathleen Raine

88938/2/3/6 (1983): one letter offering two appreciative sentences on Ballard’s Empire of the Sun for quotation.

88714 (1943–7): six letters and one postcard.

Rev. John Casey

74316 (1946 and two undated): Brighton Rock: two outline first, and one unfinished second, film treatments; 74317 (undated): third shooting script.

60753: miscellaneous letters and papers: one letter (1980); extensive other material.

Canon John Fox 89052 (1981–4): correspondence and papers; three letters; holograph and typescript preface; considerable other correspondence.

Margaret Gardiner 71606: correspondence and papers; typescript of joint letter on Czechoslovakia, signed by Greene (1968); other material on the same issue. 71607 (1965–88 and undated): correspondence including seven Greene letters; considerable other correspondence.

R. N. Green-Armytage RP 7321 (1932): copy letter.

Terence Rattigan

Max Reinhardt The considerable correspondence in this section is generally not from Greene, except as stated. 88987/2/12 (undated, c.1963): Charlie Chaplin autobiography: typescript with revisions by Greene; 88987/2/13: correspondence etc. concerning autobiography; seven letters from Greene (1957–62); considerable correspondence from others. 88987/2/20 (1982–9): Mary Connell, Help is on the Way, correspondence and other papers; one letter from Greene (1985); copy of Greene’s preface for her book. 88987/2/28 (1985–8): Douglas Day, Journey of the Wolf, contracts, press cuttings, letters, one letter from Greene 261

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(1985); copy of Greene’s recommendation for the book; other material. 88987/2/30 (1962): typescript of The Bodley Head Ford Madox Ford Vol. 1 with introduction by Greene including authorial amendments. 88987/2/34 (1957–61): Reinhardt/ Greene correspondence; approximately ten letters. 88987/2/35 (1962–5): Reinhardt/ Greene correspondence; approximately 140 letters and postcards. 88987/2/36 (1965–8): Reinhardt/ Greene correspondence; approximately 100 letters and postcards. 88987/2/37 (1969–71): Reinhardt/ Greene correspondence; approximately 250 letters, a number by Greene, together with other material. 88987/2/38 (1972–6): Reinhardt/ Greene correspondence; a number of letters by Greene, including photocopy of a 1928 letter to his literary agent; assorted other correspondence. 88987/2/39 (1977–91): Reinhardt/ Greene correspondence; 75 letters and considerable other correspondence, mostly from Reinhardt. 88987/2/40 (1965–90): general correspondence from Reinhardt and others relating to Greene; postcard (1960) and letter (1988) from Greene, plus other material. 88987/2/42 (1933–91): general correspondence of Greene with others, much of it copied to Reinhardt; over 20 letters. 88987/2/43 (1963–91): general correspondence of Greene’s agents Laurence Pollinger; mostly correspondence between Pollinger and Reinhardt, some letters by Greene. 262

88987/2/44 (1960–86): correspondence and papers relating to joint Heinemann/ Bodley Head publication of Greene’s works; six letters (1966–70), plus other material. 88987/2/45 (1967–89): correspondence and papers concerning various Penguin paperback editions of Greene’s works; some letters from Greene and much other material, some concerning contractual matters. 88987/2/48 (1987–93): The Captain and the Enemy: correspondence and contracts; a letter (1988) and notes on the novel by Greene; copy of ‘Apologia’; considerable other material. 88987/2/49: Carving a Statue: correspondence and contracts; letter from Greene to Reinhardt (1964); typescript of ‘Epitaph for a Play’ with deleted section; correspondence regarding paperback edition (1972). 88987/2/50 (1965–92): children’s books: correspondence and contracts; six letters from Greene (1959–79); photocopies and typescripts of ‘The Monster of Capri’ and ‘The Monster’s Treasure’; very extensive other correspondence. 88987/2/51 (1965–88): The Comedians and With All Faults by David Low: correspondence, press cuttings and other material concerning both books; several letters by Greene (1965–88). 88987/2/53 (1983–95): Getting to Know the General: photocopied typescript with amendments, related press cuttings and correspondence between Reinhardt and Bernard Diederich. 88987/2/55 (1972–80): The Honorary Consul: contract and correspondence between Greene, Reinhardt and others

London

regarding publication and royalties, film rights etc. 88987/2/57 (1977–80): The Human Factor: correspondence between Greene, Pollinger and Reinhardt concerning pre-publication matters  – blurbs, dust jacket, foreign rights; two drafts of preface. 88987/2/58 (1968–80): An Impossible Woman: the memories of Dottoressa Moor of Capri; 26 letters; quite extensive other material including correspondence. 88987/2/60 (1982–9): J’Accuse; seven letters; typescript of essay with minor revisions and covering letter to Reinhardt. 88987/2/64 (1967–74): The Lost Childhood/Collected Essays: contract and correspondence concerning re-issue of material using Eyre & Spottiswoode publication of The Lost Childhood; a few letters by Greene. 88987/2/65 (1967–87): May We Borrow Your Husband?: correspondence between Greene, Michael Korda, Pollinger, Reinhardt; one letter by Greene. 88987/2/68 (1989): Reflections: typescript with revisions by Judith Adamson and Greene; text includes four deleted essays; 88987/2/70 (1990–6): three letters from Greene, much other material. 88987/2/71 (1975–8): The Return of A.J. Raffles: correspondence and other material; four letters from Greene. 88987/2/72 (1962–3): A Sense of Reality: correspondence; five letters from Greene. 88987/2/73 (1974–7): Shades of Greene: correspondence; four letters from Greene.

88987/2/75 (1945): The Tenth Man: photocopy of film script; 88987/2/77 (1983–94): correspondence, papers and cuttings, including seven Greene letters (1983–6). 88987/2/78 (1969–89): Travels with My Aunt: correspondence and papers; considerable correspondence, including about ten Greene letters, and other material; copy of Greene’s introduction to the Collected Edition of the novel. 88987/2/79 (1972): ‘The Virtue of Disloyalty’: correspondence with the Observer concerning inaccuracies made by the newspaper in the published article; two letters on behalf of Greene. 88987/2/81 (1991–4): A World of My Own: correspondence, papers and reviews: photocopies of two pages of extra material by Greene; extensive publication and other material; 88987/2/84 (1991–2): corrected typescript and other corrections and comments on the text, including two pages of material by Greene. 88987/2/88 (1988–90): Yours Etc.: correspondence, contracts, reviews; one letter and some notes by Greene, extensive correspondence and other material. 88987/2/101 (1986–94): Vincent McDonnell, The Broken Commandment; correspondence, contracts, press cuttings; considerable material including letter from Greene (1987) and copy of his dust jacket quotation.

Ralph Richardson 82053 (1964): four letters.

Roger Sharrock 73536 (1978–90): 24 letters. 263

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Kenneth Tynan 87745 (1969): correspondence including two Greene letters.

Evelyn Waugh 81057 (1945–66): 41 letters, 12 postcards, two telegrams; 81076 (1966): one letter to Laura Waugh. MISCELLANEOUS

70930–70931 (1984–7): Graham Greene Diaries: two travel diaries recording journeys to Panama, Nicaragua, Russia, London and Spain. 71227: Graham Greene Miscellany Volume 1 A-E: brief notes on US Foreign Policy and Central America (1988), maps of Panama and Cuba with authorial marginalia; synopsis for unmade television film ‘The Marquis of Bolibar’. 71228: The Captain and the Enemy: holograph and typescript first draft, with authorial corrections. The following files contain additional related information but no correspondence or other manuscript material by Greene which cannot be found elsewhere: Add MS 81360, 81397, 88987/2/15, 88987/2/23, 88987/2/33, 88987/2/41, 88987/2/47, 88987/2/52, 88987/2/63, 88987/2/69, 88987/2/81, 88987/2/89, 88987/2/91. KING’S COLLEGE, LONDON UNIVERSITY: Archives and Special Collections: College Archives

www.kcl.ac.uk/library/ ADAM INTERNATIONAL REVIEW: GB 0100 KCLCA KC/ADAM, Adam International Review (1954–86): items 264

include manuscript and typescript of Greene’s review of Aldington’s Pinorman; 37 letters, including 16 from Greene. SENATE HOUSE LIBRARY, LONDON UNIVERSITY: Archives and Manuscripts

senatehouselibrary.ac.uk/ GERALD DUCKWORTH AND CO. LTD

MS959/1/72 (1937): one letter. MS959/1/183 (1945): one letter. UNIVERSITY COLLEGE, LONDON UNIVERSITY: Special Collections

www.ucl.ac.uk/library GEORGE ORWELL ARCHIVE: Letters to Orwell, A-L, IV, April 1944– April 1946: Eyre & Spottiswoode Limited (August to October 1945): three letters. VICTORIA AND ALBERT MUSEUM: Theatre and Performance Archives

www.vam.ac.uk/content/articles/t/ archives-theatre-performance SIR MICHAEL REDGRAVE ARCHIVE

THM/31/3/5/77/1 (1957): one letter. THM/31/3/5/77/2 (1958): one letter. WESTMINSTER DIOCESAN ARCHIVES

rcdowarchives.blogspot.co.uk/ GODFREY AND GRIFFIN PAPERS: Gr.3/6/6 (1954): one letter to Bernard Griffin, Cardinal Archbishop of Westminster, concerning the controversy over The Power and the Glory.

Manchester

Manchester UNIVERSITY OF MANCHESTER LIBRARY: John Rylands Library: Special Collections

www.library.manchester.ac.uk/ THE BASIL DEAN ARCHIVE

DEA/4/4/4–5, 6–8, 25–8 (1936– 8): correspondence between Ada Galsworthy and Dean, correspondence between Greene and Dean and a Greene memorandum concerning the film script adaptation of John Galsworthy’s ‘The First and the Last’ (film name: TwentyOne Days). DEA/2/32/2 (1936): memorandum of agreement between Dean and Greene concerning Greene’s work on TwentyOne Days. DEA/1/1/1040–1046 and DEA/1/2/739–745 (1938–9): correspondence between Greene and Dean concerning future collaboration on proposed stage ‘thriller’. DEA/2/33/9–25, 27, 32, 75–89, 91–92, 96 and 100 (1949–50): correspondence and telegrams between Greene and Dean, one letter each from Alec Guinness, Oscar Hammerstein and Laurence Pollinger to Dean concerning stage adaptation of The Heart of the Matter. DEA/2/33/130–134 (1949): two copies of agreement between Dean, Greene and Surrey Enterprises Inc. concerning play production of The Heart of the Matter, with covering letter. DEA/6/17 and DEA/7/4 (1950): typescript with manuscript amendments of play script of The Heart of the Matter, labelled ‘Original Version’, dated February; two typescripts of

play script labelled ‘Revised May/June 1950’.

Norwich, Norfolk UNIVERSITY OF EAST ANGLIA LIBRARY: Archives

portal.uea.ac.uk/library THE CHARLES PICK ARCHIVE

CP/1/10 Graham Greene  – CP/1/10/1– 305 (1949–88): general correspondence between publishers and Greene, including 27 by Greene; the great bulk are from 1949 to 1969, the remainder from 1977 to 1988. CP/2/3/5 Graham Greene  – CP/2/3/5/1–41 (1961–7): letters, notes and one telegram, about and by Greene; eight are by Greene.

Oxford, Oxfordshire OXFORD UNIVERSITY BALLIOL COLLEGE LIBRARY: Archives and Manuscripts

w w w. b a l l i o l . o x . a c / a b o u t - b a l l i o l / welcome-to-balliol-library C O R R E S P O N D E N C E COLLECTION (1983 and 1990): two letters to W.F. Toporowski. MANUSCRIPTS, TYPESCRIPTS AND ALBUMS COLLECTION: The Great Jowett: copy typescript, given to the college by Greene in 1990. MODERN PERSONAL PAPERS: THE CHERRY RECORD COLLECTION OF JOSEPHINE REID’S PAPERS AND BOOKS RELATING TO 265

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GRAHAM GREENE: GGJR (from 1959): papers relating to the work of Josephine Reid as Greene’s secretary: holograph and typed letters and postcards from Greene; 90 pages of transcripts of around 200 working letters to Reid on the Dictaphone system; correspondence, articles, press cuttings and photographs; material concerning the sale of Greene’s archive and library; print and manuscript material formerly inserted into the collection’s printed books; Reid’s extensive personal collection of Greene’s works from the 1940s onwards including approximately 70 presentation copies from Greene (others are signed by him and some by other writers); books and articles about or relating to Greene. THE BODLEIAN LIBRARY

www.bodleian.ox.ac.uk/bodley CORRESPONDENCE OF GRAHAM GREENE MAINLY WITH JOHN AND GILLIAN SUTRO 1953–89 MSS Eng. c.7227–7229 (1953–85 and some undated): 153 letters and 46 postcards by Greene; letter from Kim Philby to Greene (1982); list of members and minutes of the John Gordon Society annotated by Greene; description of Victorian Grillardin Club; essay ‘The Joke That Went Wrong’; poems ‘Song for Three Ageing Voices’, ‘Ballade of a Press Conference’, ‘Ballade for a Royal Wedding’, play Yes and No, all with minor amendments. MS Eng. c.7232 (1956): papers of the John Gordon Society; four letters by Greene, several by others including five by John Gordon and one by Stephen

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Spender; lists of society members, minutes and summaries of meetings; newspaper cuttings. MS Eng. c.7233 (1953–76): papers of the Anglo-Texan Society; two letters by Greene; several letters by Sutro and others; constitution, agenda and minutes of society; Sutro’s ‘Honorary Texan’ certificate; relevant newspaper cuttings about society; published article and story by Greene; cuttings about Greene. MS Eng. c.7231: transcripts of Greene’s letters, copies of letters from Sutros to Greene (1953–86) with annotations by Gillian Sutro; notes recalling visits and conversations with Greene and Yvonne Cloetta (1987–96). MS Eng. c.7234 (1942–96): notes on Greene by Gillian Sutro. MS Eng. c.2302 (1977–8 and undated): letters to J.W. Lambert. OXFORD UNIVERSITY PRESS ARCHIVE

global.oup.com/uk/archives LG36/270 (1960): a letter from Greene turning down an invitation to write an introduction to the World’s Classics edition of Henry James’s Princess Casamassima.

Reading, Berkshire BBC WRITTEN ARCHIVES CENTRE

www.bbc.co.uk/archive/written.shtml Archive of correspondence and internal memos relating to Greene comprising 11 files, each arranged in date order. Some dates overlap as material originates from different BBC departments. Some files coded and named, others not. There are

Reading, Berkshire

some letters from Greene particularly dating from the pre-1950 period; later correspondence was mostly conducted through his literary or drama agent.

1. Paper Archive General correspondence and memos file 1934–54; Scriptwriter’ file 1938– 54; Works in BBC programmes file 1938–54; Script Unit Drama Writer’s file (T48/292/1) 1955–64; Speakers’ file 2 1963–7; Scriptwriters’ file 2 1963–7; Speakers’ file 3 1968–72; Scriptwriters’ file 3 1968–72; Copyright file 3 (RCONT20) 1970–4; Speakers’ file 4 (RCONT15) 1973–82; Broadcasts and Contracts (RCONT21) 1975–9. Nineteen scripts including: ‘A Day Saved’, short story (1934); ‘Cinema Talk’ (1937); ‘The Crisis’, talk about childhood (1947); ‘The Artist in Society’, discussion with V.S. Pritchett and Elizabeth Bowen (1948); ‘A Small Affair’, an incident in Vietnam (1953); ‘Stage, Screen and Studio’, discussion about The Living Room (1953); ‘Indo-China’, discussion with Brian Crozier (1954); The Little Train and The Little Fire Engine, children’s stories (1954–5); ‘We Write Novels’, discussion with Walter Allen; ‘A Memory of IndoChina’, extract from The Quiet American (1955); ‘The Luck of the Road’, extract from The Lawless Roads (1956); ‘Asia and the West’, discussion on novel and society (1957); ‘I Spy’, short story (1962); ‘Myth, Reality and Fiction’, discussion with Frank Kermode (1962); ‘The Master’, discussion about Conrad (1962); extracts from A Burnt-Out Case (1962 and 1964); ‘A Shocking Accident’, short story (1968); ‘A Writer at Work’, discussion with Christopher Burstall (1969).

2. Microfilm Archive Eighty-four scripts of adaptations for radio of Greene’s novels, short stories and plays by a variety of writers; 25 were eventually broadcast. Two scripts written by Greene himself: The Great Jowett (1939); Gestapo in England, with Sir Kenneth Clark (1942). UNIVERSITY OF READING LIBRARY: Special Collections

www.reading.ac.uk/library/ RANDOM HOUSE COLLECTION

The Bodley Head BH1 Series 56, 81, 121, 137, 149, 153, 214, 321, 349, 402, 404, 421, 453, 489, 554, 566, 573, 634, 663, 770, 797, 789, 820, 887, 902, 1007, 1024, 1026, 1041, 1135, 1150, 1181, 1185, 1209, APU/293: Fifty letters concerning various publications by Miguel Barnet, Peter Benenson, Richard Blake Brown, Karen Blixen, Jaroslav Brodsky, George Bull, the Daily Telegraph, Bernard Diederich, Doubleday Publishers, Penelope Gilliatt, Maeve Gilmore (Peake), David Higham Associates, Linda Kelly, Ronald Matthews, Arthur Mizener, Elizabeth Monroe, the Observer, Oxford University Press, Gilbert Phelps, Elizabeth Salter, M. C. Sams, Michael Sheehy, James Simmons, Josef Škvorecký, Francis Steegmuller, Derek Winterbottom, Paul Zsolnay Publishing. BH2 Series 1/3, 13/2, 13/6, 18/3, 18/4, 18/6, 33/5, 40/2, 45/6, 50/2: Eleven letters concerning publications by M-F Allain, William Cox, Leopoldo Durán, David and Sybil Eccles, Allan

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Massie, Muriel Spark, Vladimir Volkoff (1963–78). 18/2: The Human Factor: six letters (1977–83). 18/4: Collected Editions of The Lawless Roads and Journey Without Maps: eight letters (1977–8). 18/5: Lord Rochester’s Monkey: one letter (1973). 18/6 and 18/9: Graham Greene Collected Edition: 23 letters; typescript draft of introduction to Volume 20 (1974–7). 18/7: Shades of Greene: four letters (1975). 18/8: A Sort of Life: seven letters (1971–3). 18/10: Ways of Escape: two letters (1979–80). 18/11: Yes and No and For Whom the Bell Chimes: two letters (1983–4). 19/1: Victorian Villainies selected by Hugh and Graham Greene: two letters (1981). BH3 Series: 19/5: Getting to Know the General: eight letters (1983–5). 19/6 and 19/7: J’Accuse; seven letters; typescripts of two letters by Greene to The Times newspaper; copy of J’Accuse marked ‘second French corrections’ (1982–6). 19/8: Monsignor Quixote: seven letters (1981–3). 19/9: Doctor Fischer of Geneva or The Bomb Party: seven letters (1979– 86). 20/1: The Tenth Man: 12 letters (1983–5). 20/2: The Return of A.J. Raffles: 11 letters (1975–6).

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20/3: The Great Jowett: four letters (1981–3).

Chatto and Windus 43/7: one letter concerning ‘Dear Sanity’ (c.1928). 51/20: one letter concerning a job opportunity (1933). 59/13: one letter by Greene introducing himself to Bobbs-Merrill Co. (1936) 61/22: one letter to Ian Parsons, Chatto employee (1933). 69/7: one letter to Denyse Clairouin regarding Night and Day (1937). 78/15: one letter concerning Denis Kincaid (1938). 88/3: two letters by Greene at the Ministry of Information (1940). 100/7: five letters by Greene at Eyre & Spottiswoode (1944–6). CW 338/6, 447/12, 464/6, 497/3: Five letters concerning publications by Tom Laughton (1980), John Hampson Simpson, Lyndall P. Hopkinson, Shirley Hazzard (1975–90).

Jonathan Cape JC 6/3, 78/3, 99/2, 174/7, 187/2: Six letters concerning publications by Felix Greene, Joseph Heller, Shaun Herron, Brian Moore (1962–76).

John Lane JL 7/27: two letters: one granting permission to republish ‘Three Little Pigs’, the other concerning an article for ‘the Spectator’ (c.1933–5).

Routledge RKP 65/10: one letter: introducing himself as literary editor of Night and Day (1937).

Rushden, Northamptonshire

Miscellaneous MS2750/610: one letter concerning possible publication of book by Jacques Riviere (1940).

Rushden, Northamptonshire RANDOM HOUSE ARCHIVE AND LIBRARY

www.randomhouse.co.uk/about-us/ about-us/companies/library-archive/ about-the-library-archive THE WILLIAM HEINEMANN ARCHIVE

Files are not labelled nor are contents catalogued or arranged chronologically: c.1937–96: Subject matter includes: references to individual works by Greene from 1945 onwards, publishers’ sales figures and forecasts, contracts and associated

literature, information regarding reprints, future publishing projects. In addition to some 800 plus letters, including a number by Greene, other material includes internal Heinemann memos, a few typescript copies of Greene’s writings, dust jacket designs, newspaper cuttings, photographs.

Windsor, Berkshire ETON COLLEGE LIBRARY

www.etoncollege.com/CollegeLibrary. aspx DIANACOOPER CORRESPONDENCE Box IV (1966–86): eight letters, two postcards. HAYWARD MEMORIAL FILE: essay with covering letter to John Carter. LITERARYSOCIETYCOLLECTION Vol. 1 (1952): two letters. HORNER 1 (1950): one letter to Osbert Sitwell.

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Archives in Ireland Dublin

Galway

TRINITY COLLEGE: Manuscripts and Archives Research Library

NATIONAL UNIVERSITY OF IRELAND LIBRARY: James Hardiman Library Archives Collections

www.tcd.ie/Library/ GRAHAM GREENE LETTERS: MS10891 (1977–8): 14 letters to Des Lally.

www.library.nuigalway.ie/ THOMAS KILROY PAPERS: P103/583 (1956): one letter to the Irish playwright and novelist.

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Archives in the United States of America Ann Arbor, Michigan UNIVERSITY OF MICHIGAN LIBRARY: Special Collections Archival and Manuscript Collections

www.lib.umich.edu/ ENGLISH LITERARY AUTHORS COLLECTION (1971): one letter to W.A. Saunders, about memories of Berkhamsted School, with a letter of explanation from Saunders (1981).

Atlanta, Georgia EMORY UNVERSITY: Manuscripts, Archives and Rare Book Library

marbl.library.emory.edu/ THE GRAHAM GREENE COLLECTION: MS 788 Box 1, Folders 1–5 (1962–6): 26 letters, mainly typescripts, two undated – 23 to Anthony Hobson, three to John Carter.

Austin, Texas UNIVERSITY OF TEXAS: Harry Ransom Center

www.hrc.utexas.edu/

GRAHAM GREENE COLLECTION

Series 1: Works The published works are listed by name below. Some minor works, which include unpublished writings, are grouped together under alphabetical headings in the HRC Finding Aid. 1/1 A-B; Unidentified: Untitled (undated, but supposedly August 1954): article on Maria Newall with minor authorial revisions; unpublished. Untitled (undated): unfinished holograph of novel/story in two chapters with authorial revisions; unpublished. Untitled (undated): unfinished holograph of novel/story with authorial revisions; unpublished in this form, but the basis of the story ‘Men at Work’ (published 1941). Address at Edinburgh University (6 July 1967): holograph and two typescripts, all with minor authorial revisions; unpublished. Address at receipt of the Shakespeare Prize (6 June 1969): holograph and two typescripts, all with revisions; published as ‘The Virtue of Disloyalty’. ‘Alas! Poor Maling’ (January 1974): holograph and typescript of the television script, with authorial and other revisions; unpublished in this form.

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‘The Mother of God’ (undated): holograph of the essay with authorial revisions; published in 1950 as ‘The Assumption of Mary.’ ‘Beauty’ (undated): holograph and typescript of the story, both with authorial revisions; published in 1963. ‘A Birthday in October’ (January 1964): holograph with authorial revisions and two typescripts of the story; unpublished. Books of the Year (December 1970): handwritten and typescript of Greene’s three choices; published in the Observer. 1/2–6 Brighton Rock (1946–70) Novel: holograph and typescript introduction for the German Collected Edition with authorial revisions (1962); typed notes for the introductions for the German Collected Edition and the UK Collected Edition (1970); page proofs of introduction for UK Collected Edition with authorial revisions (1969); page proofs for the UK Collected Edition, with corrections by the author and others (1969). Film: ‘Second Film Treatment’ (21 December 1946)  with revisions and inserts by Greene; ‘3rd Shooting Script’ (undated), by Roy Boulting. 1/7–10, 2/1–4 A Burnt-Out Case (1963–74) Holograph; three typescripts; proof copy (1959–61); holograph introduction (1963); proof copy for Collected Edition (1974). All with authorial revisions. 2/5 C: The Café Royal Story (undated): holograph and typescript of Greene’s preface, edited by Leslie Frewin; incomplete manuscript. 272

‘Chagrin in Three Parts’ (undated): holograph and two typescripts, holograph with heavy authorial revisions, of the story. ‘Chile: The Dangerous Edge’ (c.1972): holograph and four typescripts of essay, all with authorial revisions. The manuscript copy has been considerably altered and added to. ‘A Christmas Broadcast by Henry II’ (1970): holograph and typescript of the Spectator Christmas competition entry, with authorial revisions to manuscript; cutting from relevant copy of the Spectator. A Clever Twist (undated): holograph of play fragment with three pages of notes; some authorial revisions. The Stranger’s Hand (undated): two holographs and a typescript of commentary for film script, all with authorial revisions. ‘The Country with Five Frontiers’ (c.1977): holograph and typescript of article; manuscript with heavy revisions, typescript with minor alterations. 2/6–8, 3/1–9 Carving a Statue (1963–4) Holograph; five typescripts, whole or part; typescript revisions; three sets of galley proofs; two sets of page proofs; five production copies (1963–4). All with authorial revisions. 4/1 ‘Cheap in August’ (November 1963): holograph, typescript, typescript fragments and bound mimeograph of the published story, all with authorial revisions. 4/2 The Collected Edition of the Works of Graham Greene (undated) Holograph and two typescripts of introductions to: A Burnt-Out Case, The Comedians, The End of the Affair, Loser

Austin, Texas

Takes All, The Man Within, Stamboul Train, The Third Man, The Lawless Roads and Journey Without Maps, all with authorial revisions. 4/3–7, 5/1–2 Collected Essays (1968): holograph, two typescripts, page proofs, proof copy, all with authorial revisions. 5/3–6, 6/1–2 Collected Stories (1971–2) Holograph and typescript introduction for the UK Collected Edition, with authorial revisions (1972); page proofs for the UK Collected Edition, with authorial revisions (1972); printed copies of three volumes of Greene short stories, with corrections by Greene and another for the UK Collected Edition (c.1971). 6/3–9, 7/1–5, 8/1–6, 9/1–6, 10/1–6, 11/1 The Comedians (1963–75) Novel: holograph journal notes (August 1963); holograph and typescript notes on various types of paper (occasional dates, including 1964); holograph with authorial revisions (undated); typescript with extensive authorial revisions (undated); typescript of the first part of the novel, with authorial revisions (1964); typescript with revisions (undated); two typescript carbon copies with occasional authorial revisions (with a dedication dated July 1965); proof copy and galley proofs for the US Viking Press edition, with authorial revisions (1965); UK Bodley Head proof copy (1965) and printed copy (1966), both with authorial revisions; holograph and typescript of book blurbs, with authorial revisions (1965); page proofs for the UK Collected Edition, with authorial revisions (1975). Film: four story lines for the film  – one holograph, three typescript – all with

authorial revisions (undated); holograph and typescript first ‘Rough Draft’, with extensive authorial revisions (undated); typescript second ‘Rough Draft’, authorial revisions (undated); typescript third ‘Rough Draft’, with extensive authorial revisions (undated); typescript fourth ‘Rough Draft’, initially headed ‘First version’, with authorial revisions (undated); ‘Screenplay’, unrevised and undated; ‘Screenplay’ (undated), ‘Revised Screenplay’ (September 1966)  and ‘Final Screenplay’ (December 1966), all with authorial revisions; holograph and typescript fragments with authorial notes and revisions (undated). 11/2 The Complaisant Lover (undated): typescript (with insert) and galley proofs. 11/3–7 The Confidential Agent (1952–70) Holograph with authorial revisions and revisions (undated); holograph and two typescripts of the introduction to the 1962 German Collected Edition, all with authorial revisions; page proofs for the UK Collected Edition, with authorial revisions (1970); bound volume of the Uniform Edition (1961), with authorial revisions for the UK Collected Edition (1970). 11/8 ‘Convoy to West Africa’ (undated): published copy of The Mint (1946) containing ‘Convoy to West Africa’ with authorial revisions. 12/1 D: Diary of Greene’s visit to Chile (September–October 1971): ‘The Dangerous Edge’: holograph, with a page of notes; unpublished. ‘Dear Dr Falkenheim’ (undated): holograph and typescript of the story, 273

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both with authorial revisions; published in 1963. ‘Death of a Widow’s Son’ (undated): typescript with authorial revisions of the story; written in 1929 and published in 1947 under the title ‘The Second Death’. ‘The Destructors’ (1954): holograph of the story, with authorial revisions. ‘Doctor Crombie’ (1965): holograph and typescript of the story, both with authorial revisions. 12/2 E-H: The Empty Chair (c.1926): unfinished holograph of novel in five chapters with minor authorial revisions; published. ‘Epitaph for a Play’ (1964): holograph and typescript with minor authorial revisions, published with Carving a Statue. ‘The Fall of Dien Bien Phu’ (c.1955): holograph and typescript with minor authorial revisions; renamed ‘Decision in Asia: The Battle of Dien Bien Phu’ for publication. Fanatic Arabia (c.1927–8): sevenpage holograph fragment of intended novel with authorial revisions; unpublished. ‘For a Homesickness’ (undated): holograph fair copy of poem dedicated to ‘VD’; unpublished. ‘Go-Slow at Clapham Junction’ (1972): holograph of poem with authorial revisions published as ‘Go Slow’. ‘Goa the Unique’ (1964): holograph and two typescripts; considerable authorial revisions, especially to first typescript of this published article. ‘The Great Spectacular’ (1977): holograph and typescript of essay with authorial revisions to this published article. 274

‘Greetings to Russia on 40th Anniversary of the Revolution’ (1957): manuscript of short essay/tribute on headed, Moscow hotel notepaper; unpublished. Horror Comic (1 November 1956): three-page holograph of fragment of play with authorial revisions; unpublished. ‘A Hundred Yards from Piccadilly’ (undated): holograph and typescript of essay, both with authorial revisions; typescript copy entitled ‘The Strange West End’; unpublished. 12/3–4 The End of the Affair (1963–74): holograph introduction for German Collected Edition with authorial revisions (1963); page proofs of novel for UK Collected Edition, with authorial revisions (1974). 12/5–7 England Made Me (1933– 69): holograph with authorial revisions and insertions (1933); holograph and typescript introduction for German Collected Edition with authorial revisions (1962); page proofs for UK Collected Edition with authorial revisions (1969). 12/8 ‘For Vivienne: A Private Book’ (1926–32): holograph bound volume with drafts, fair copies and paste-ins, almost all of poems; all but a few of the poems are unpublished. The first 12 were all written by December 1926. Most poems have titles: the first line is given where not: ‘Preface. Dec. 13. 1926’; ‘The Summer Term at Oxford 1925’; ‘When Oxford was Over, July-August 1925’; ‘You in Italy and I wanting you at Ashover Aug-Sep 1925’;

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‘October 1925. Memorable because I had just said goodbye to you and the whole of Paradise – at Bletchley!’; ‘At Nottingham in a temporary rebellion’; ‘London March to December 1926. Two Strangers who belong to you. Because when I think of a beautiful lady, it is only in terms of you, and when I see one, only a dim reflection of you’; ‘On a bus going to my secondary home – alone’; ‘The sun is shining, but a mist’; ‘Westminster Hospital. October’; ‘December 18’; ‘But after all, I must make excuses for the poverty of these twigs’; ‘When we were feeling despairing’ (5 February 1927); ‘First Love’ (the winning sonnet published in the New Statesman, 23 September 1926); ‘Seven hours before the day’ (March 1926); ‘Come out and ride’; ‘Coward’ (March 28); ‘A Morbid Easter Tribute’ (April 1927); ‘Tottenham Court Rd Rhapsody’ (14.5.27); ‘Faintheart and Greatheart’ (13.6.27); ‘Let there be light’ (5.8.27); ‘For My Love on the first Christmas’ (Christmas Day 1927); ‘That woman with the pale, sad face’ (May 19–20, 1928); ‘Invocation to my Leda’ (July 20, 1928); ‘I like the cream of everything’; ‘One may speak of a First Edition’ (31 July 1931); ‘As Vulgar Men drink Beer’ (1932); ‘The Unconquered’ (published in the Weekly Westminster Gazette, 24 October 1925);

‘Casual Myrrh’ (published in Oxford Outlook, May 1925); ‘Spawn’ (published in Cherwell, 23 January 1926). 13/1–4 A Gun for Sale (1936–72) Holograph introduction for German Collected Edition with authorial revisions (1962); holograph with authorial revisions (no date, probably 1936); page proofs (and galley proofs) for UK Collected Edition with authorial revisions (1972); three typescript drafts of introduction to UK Collected Edition – all with authorial revisions (1972). 13/5–9 The Heart of the Matter (c.1953–71) Holograph introduction for German Collected Edition with authorial revisions (1963); published Uniform Edition volume used for authorial revisions (undated); page proofs, manuscript and typescript drafts of introduction for UK Collected Edition, all with authorial revisions (1971); seven-page fragment of dramatization of novel with authorial revisions and inserts (undated). 13/10 A House of Reputation (undated): holograph and typescript of two acts of unpublished play with authorial revisions and inserts. 14/1–6, 15/1–6 The Honorary Consul (1970–3) Holograph notes in two notebooks and fragments (undated); holograph with authorial revisions (1970–2); four typescripts, each with often extensive authorial revisions and each an unfinished version of the novel – 1970, 1971, undated and undated (the latter with newspaper clippings and maps); typescript with authorial revisions (1972); typescript 275

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of some pages with authorial revisions (undated); typescript with authorial revisions (1972); galley proofs with authorial revisions (1973); page proofs with authorial revisions (1973). 17/1–8, 18/1–4 The Human Factor (1966–77) Eleven pages of holograph notes (no date); five-page holograph and typescript of introduction and ‘author’s message’ (1977). 59-page typescript entitled ‘The Cold Fault’ (undated); 206-page manuscript and typescript entitled ‘Sense of Security’ (1966–7); 85-page holograph entitled ‘The Human Tie’(1976); three untitled typescripts (1975, 1976–7 and 1977) – all above with authorial revisions. Galley and page proofs (1977), with authorial revisions. 19/1 I-J: ‘John Hayward, Book Collector’ (undated); holograph and typescript, both with authorial revisions; published in 1965. ‘An Incident in Sinai’ (October 1967): holograph and typescript of the reportage article, both with authorial revisions. Indo-China Diary (February, but no year): holograph. ‘The Invisible Japanese Gentlemen’ (undated): holograph and two typescripts of the story, all with authorial revisions; published in 1966. ‘The Joke That Went Wrong’ (January 1974): holograph and typescript, both with authorial revisions; published as ‘A Thorn on the Yellow Rose’. 19/2–3 An Impossible Woman: The Memories of Dottoressa Moor of Capri (1975): typescript and page proofs, both with authorial revisions.

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19/4–7 In Search of a Character: Two African Journals (1941–61) ‘Congo Journal’: holograph (1959), typescript (no date), both with authorial revisions. Holograph notebook entitled ‘Convoy to West Africa’ (1941). Page proofs for In Search of a Character, with authorial revisions (1961). 19/8 Introductions to various works (1954–77) Holograph and typescript copies with authorial revisions mostly to introductions to works by other writers including: Fils de la Rizière by Jean Leroy; Parade’s End by Ford Madox Ford; Diplomat by Gunnar Hagglof; Cosi’ Capri by Luciano D’Alessandro; Les Oeuvres Choisis (for the French Collected Edition of Greene’s novels, written in English); Papa Doc by Bernard Diederich; Pavilions by the Sea by Tom Laughton, Qui Pied Gagne (Loser Takes All); Reminiscences of Dr Rosanoff of Nice (includes related correspondence); The Sign of Four by A. Conan Doyle; The Snail-Watcher and Other Stories by Patricia Highsmith; With All Faults by David Low; Father Six by Armand Olichon. 20/1–3 It’s a Battlefield (1932– 69): holograph with inserts (1932–3); typescript of novel and introduction (no date but probably c.1969 in preparation for UK Collected Edition); page proofs (1969) – all with authorial revisions. 20/4–6 Journals and other writings (1940–64) Twelve-page holograph of Greene’s journal of the London Blitz with revisions (1940–1) entitled ‘The Defenders’; also three pages of manuscript notes by an unknown hand; mostly published.

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Three holograph journals (undated but c.1960–4) covering visits to Bombay, Mexico and Vietnam, with authorial revisions; mostly unpublished. ‘During the Second Siege of London’ (June–July 1944): 15-page holograph journal; unpublished. 20/7–9 Journey Without Maps (1935– 64) 127-page holograph journal kept by Greene during his travels in West Africa entitled ‘Notes for Journey through the Dark’ (1935). Holograph introduction to Journey Without Maps for German Collected Edition (1963). Holograph of Journey Without Maps with authorial revisions (c.1935). 21/1 L: ‘The Lines on the Palm’ (May 1974): holograph and typescript of the article, both with authorial revisions. ‘The Lotus Land’ (undated): holograph (with list of illustrations) and two typescripts of the article, all with authorial revisions; published in 1969 as ‘The Worm Inside the Lotus Blossom’. Lucius (undated): holograph of unfinished novel with authorial revisions; unpublished. 21/2 The Lawless Roads (c.1938–9) Holograph of The Lawless Roads with inserts comprising relevant newspaper cuttings etc., with authorial revisions (c.1938–9). Bound typescript with authorial revisions (undated). 21/3 The Little Horse Bus (undated, c.1952): exercise book containing planned outline for book.

21/4 The Little Steamroller (undated, c.1953): exercise book containing planned outline for book. 21/5 The Little Train (undated, c.1946): bound pages in A5 landscape format containing planned outline for book. 21/6–8, 22/1–4 The Living Room (1952–61): two pages of holograph notes on end-pages of a published book of poetry (undated); three typescript acting copies of play (1952); 21 pages of holograph notes and fragments giving outline of scenes for screenplay (undated); three typescript copies of screenplay with varying amounts of authorial revisions (1952–61). 22/5–7, 23/1–3, oversize folders 1–2, galley folder 4 Lord Rochester’s Monkey (1973–4): holograph and typescript notes and fragments with authorial revisions (undated); two typescripts, 1973 and undated, both with authorial revisions; page proofs and galley proofs, 1974 and undated, both with authorial revisions; holograph and typescript of bibliography (undated). 23/4 Loser Takes All (undated): printed copy with authorial revisions for the UK Collected Edition; typescript of introduction for the UK Collected Edition, with revisions; typescript of dedication to A. S. Frere. 23/5 M: ‘The Man who Stole the Eiffel Tower’ (1956): holograph of the story, with authorial revisions. ‘May We Borrow Your Husband?’ (undated): holograph and typescript of the story, both with authorial revisions; published in 1962.

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May We Borrow Your Husband? and Other Comedies of the Sexual Life (1967): proof copy with authorial revisions of this short story collection. ‘Mr Cinderella’ (undated): holograph and typescript of poem, both with authorial revisions; unpublished. ‘Mortmain’ (undated): holograph and typescript of the story, both with authorial revisions; published in 1963. 23/6–10, 24/1 The Man Within (c.1929–75) Holograph with authorial revisions (c.1929); introduction to novel for German Collected Edition (1962); page proofs for UK Collected Edition (1975); ‘deconstructed’ Penguin edition copy used to revise novel for Collected Edition; typescript of 1962 German Collected Edition introduction (undated); published US edition dedicated to A.S. Frere  – all with authorial revisions. 24/2–6 The Ministry of Fear (1942– 72) Holograph with authorial revisions (1942). Holograph introduction to novel for German Collected Edition (1962); three typescripts for UK Collected Edition (1972); page proofs with revisions (1972) – all with authorial revisions. 24/7 ‘Mr Conway’s Congress’ (1962): holograph and typescript of the story, both with authorial revisions; unpublished. 24/8 ‘Moment of Truth’: holograph (undated) and typescript (February 1988)  of the short story, both with authorial revisions; photocopy of the story in the Independent in 1988. 24/9 ‘The Monster of Capri’ and ‘The Monster’s Treasure’: two 278

children’s stories handwritten by Greene on the backs of postcards. The folder containing the postcards is not listed in the HRC finding aid: it can be found in Box 24, Folder 9. 24/10 N: ‘A Nation’s Conscience’ (undated): holograph of a letter on Kenya; published in The Times in December 1953. ‘Never, Never continued’ (c.1952): holograph of story fragment, with revisions; unpublished. ‘New Statesman Weekend Competition 2,116’ (1970): holograph with authorial revisions. ‘The Nightmare Republic’ (1963): holograph and two typescripts of the article, all with authorial revisions. 25/1 The Name of Action (1929–30): holograph in bound notebook of the novel, with authorial revisions and illustrations. 25/2 No Man’s Land (undated): holograph and typescript of the film story, both with authorial revisions; published in 1993. 25/3 O: Oh Damn Your Morality! (undated): single-page holograph fragment of an unpublished play with two pages of notes outlining intended three-Act drama, both with authorial revisions. ‘The Other’ (undated): holograph and two typescripts of published article; minor authorial revisions to second typescript. ‘The Overnight Bag’ (undated): holograph and two typescripts of the story, with authorial revisions; published in 1965. 25/4–8, 26/1–3 Our Man in Havana (1957–69) Novel: typescript draft blurb with authorial revisions (undated);

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two holograph pages of the novel (undated); holograph and typescript of the introduction to the 1963 German Collected Edition, both with authorial revisions; holograph incomplete draft of the novel with authorial revisions and inserts (undated); composite holograph and typescript draft of much of the novel, with authorial revisions (undated); bound carbon copy typescript with revisions (1957–8); page proofs for the UK Collected Edition, with authorial revisions (1969). Film: composite holograph and proof sheets of the printed novel, set out as a screenplay, with authorial revisions (undated); screenplay typescript with authorial revisions and inserts (January 1959). 26/4 P: ‘The Paradox’ (undated): holograph of poem, fair copy written on School House, Berkhamsted notepaper. Forewords: holograph and typescript forewords to The Contrary Experience by Herbert Read (1973) and The Past of Miss Silver by Joseph Škvorecký (1976), both with authorial revisions. ‘Pius XII: The Paradox of a Pope’ (undated): typescript of essay with extensive revisions and additions. Essays (undated): holograph of five short untitled essays: looking back at a diary entry one year previously; essays on the writer Frances Parkinson-Keyes; changes to the New Yorker magazine; the Lord Mayor’s Banquet; a visit of Marshal Tito to the UK. All with authorial revisions. Essays (undated): holograph and two typescripts of ‘The Pleasure of Being Deported’; ‘The Poet and the Gold’

(includes photocopy of Greene’s 1944 published article ‘Nordhal Grieg  – A Personal Note’, on the same subject); ‘Prague 1948’  – with authorial revisions. Places, etc. (undated): photocopy of collection of Greene’s views on the following matters: Places, Other Writers, His own work, Religion, Politics, Marriage, Doctors, Theatre, Crime. 26/5 The Pleasure-Dome (1972): holograph and typescript of the introduction to Greene’s film criticism, with authorial revisions. 26/6–8 The Potting Shed (1957–8) Three bound typescript copies of the US version (containing a different Third Act). First two with extensive authorial revisions; third copy ‘Director’s Copy’ with minor alterations only. 27/1–6 The Power and the Glory (c.1939–71) Holograph with authorial revisions (c.1939–40). Three typescript copies of introduction for UK Collected Edition, based on 1962 German Collected Edition introduction (c.1970), all with authorial revisions. Page proofs with authorial revisions and printer’s notes (1970–1). ‘Deconstructed’ copy of Uniform Edition used for authorial revisions for UK Collected Edition (1970). 27/7 Prologue to Pilgrimage (undated): typescript of the novel, with authorial revisions; unpublished. 28/1–3 The Quiet American (1963– 72) Holograph single-page dedication to Réné and Phuong with authorial revisions. 279

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One holograph and three typescript copies of introduction for the UK Collected Edition (1971); introduction based on 1963 German Collected Edition introduction; page and galley proofs with authorial revisions and printer’s notes for UK Collected Edition (1972)  – all with authorial revisions. 28/4 R: ‘Regina vs Sir James Barrie’ (1969): holograph (undated) and typescript (1969) of the article, both with authorial revisions. ‘Return to Havana’ (undated): holograph and two typescripts of the article, all with authorial revisions; published in 1963 as ‘Return to Cuba’. ‘The Revenge’ (1954–63): holograph of the autobiographical fragment, with authorial revisions (December 1954); proofs of the 1963 volume, with authorial revisions. ‘The Rude Mechanicals’ (1964): holograph (undated) and typescript (1964) of the article, both with authorial revisions. ‘Introduction to Travels with My Aunt’ (1978): typescript with authorial revisions to the introduction to the UK Collected Edition, and unrevised copy typescript. 28/5 ‘Reading at Night’ (undated): holograph and first draft typescript of the story, both with authorial revisions; unrevised second draft typescript; bound copy with authorial revisions; all versions are undated; unpublished. 28/6–13 The Return of A. J. Raffles (1974–5) Holograph with authorial revisions (1974). Four typescripts with authorial revisions (c.1975): galley proofs, two 280

sets of page proofs and page mock-ups, all with authorial revisions and additional notes (1975). Greene’s holograph notebook containing 11 pages of rehearsal notes (1975). 29/1 Book Reviews (undated) Holograph book reviews of: Desert Calling by Anne Freemantle, Desert Love by Henry de Monterblant, Judgement by Deltchev by Eric Ambler, The Loss of Eldorado by V.S. Naipaul, Obscenity and the Law by Norman St John Stevas, One for the Devil by Etienne Leroux, Robert Louis Stevenson by James PopeHennessy, Sous le Soliel de Satan by Georges Bernanos, South East Asia in Turmoil by Brian Crozier, Stephen Crane by John Berryman, To Beg I am Ashamed by Sheila Cousins, The Week by Patricia Cockburn. 29/2  ‘The Revolver in the Corner Cupboard: An Autobiographical Sketch’ (undated): three-page holograph in a notebook with authorial revisions. 29/3–9 Rochester: A Restoration Portrait (1931): holograph notes with authorial revisions (undated); holograph with authorial revisions; typescript with authorial revisions (undated). 29/10 ‘The Root of all Evil’ (1963): typescript of the story with authorial revisions (November 1963); bound duplicate copy with authorial revisions (undated). 29/11 Rumour at Nightfall (1930–1): holograph of the novel with authorial revisions. 30/1 S: Short stories, essays and preface: holograph of story ‘Secrets’, later renamed and published as ‘The Root of

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all Evil’; manuscript and typescript of story ‘A Shocking Accident’; holograph and typescript of essay ‘Security in Room 51’; holograph of essay concerning Alexander Solzenitsyn’s Nobel Prizewinning speech, published as ‘Against Compromise’; manuscript and typescript of preface to The Spy’s Bedside Book – all with authorial revisions. ‘Song for Three Ageing Voices’ (1954): holograph and typescript of published poem, with letter to his secretary. ‘Song of the Cultivators’ (undated): holograph of unpublished poem. The Stranger’s Hand (1954): holograph of 30-page film treatment, together with three pages of mixed manuscript and typescript notes – all with authorial revisions. 30/2–3 Saint Joan (undated): three composite holograph and typescript drafts of the screenplay, all with authorial revisions; the film was released in 1957. 30/4–7, 31/1–3 A Sense of Reality (1963): individual short stories from the 1963 anthology, all undated and all with authorial revisions: holograph, typescript and bound typescript of each of ‘Under the Garden’, ‘Dream of a Strange Land’ and ‘A Discovery in the Woods’; bound typescript of ‘A Visit to Morin’; and page proofs of all four stories, with authorial revisions. 31/4–9, 32/1–5, 33/1–5 A Sort of Life (1970–1): all material for the 1971 autobiography is undated until the galley proof stage, and all with authorial revisions: two holograph and typescript drafts; typescript pages; three sets of typescript pages with holograph additions; five typescripts, sometimes

with holograph additions; galley proofs and inserts (1970); page proofs (1970); holograph inserts for future editions (1971). 33/6–9, 34/1 Stamboul Train (1932– 74) Holograph with authorial revisions (1932). Bound typescript in original form, inscribed to Rupert Hart-Davies (undated). Holograph of introduction to German Collected Edition with extensive authorial revisions and deletions (1962–74); page proofs with authorial revisions and printer’s notes (1974). 34/2 T-Z: Yes and No (undated): holograph of the play, first performed in 1980. ‘The Writer and the Cinema  – A Personal Experience’ (1958): holograph of the article, with authorial revisions. The Word Pterodactyl or A Man of Extremes (undated): holograph of one unfinished novel, and notes for another, both unpublished. ‘Extract from Toll No Bells by Graham Greene’ (1961): holograph verse, an entry to a New Statesman competition. ‘Preface’ (1965): holograph with authorial revisions of an entry to a New Statesman competition. ‘Week-end Competition 1,709’ (1963): two typescripts, with authorial revisions, of an entry to a New Statesman competition. ‘A Visit to Poland’ (undated): holograph with authorial revisions, of an article published in 1956. ‘Two reasons for not writing to you’ (undated): holograph verse. 281

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Under the Garden (1962): typescript of blurb, with authorial revisions, for a short story collection never published. ‘The Virtue of Disloyalty’ (undated): typescript of a prefatory note to the speech given in 1969, with authorial revisions; galley proofs of the speech, with authorial revisions (published in 1972). Other revised galley proofs are in Box 36, galley folder 7. ‘Two Gentle People’ (1966): notes for and holograph and typescript of the story, all with authorial revisions. ‘To You being a hideous way off’ (undated): holograph verse, never published. ‘Table Talk’ (undated): holograph notebook from Greene’s time in Sierra Leone. 34/3 The Tenth Man (undated): typescript; a letter from 1967. 34/4–6, 35/1–6 The Third Man (1948–75) Film: two draft scripts (undated and 1948); a release script (undated); a treatment (undated). Story: a typescript (1948); two undated printed copies with authorial revisions, one for the UK Collected Edition of 1976, and typescript of the introduction for that edition; page proofs for that edition, with authorial revisions, also including Loser Takes All (1975). 35/7–9, 36/1–6 Travels with My Aunt (c.1968–9) Notebook and loose pages containing 34 pages of notes pertaining to novel (undated) with further holograph notes (1969). Single page holograph blurb for book cover (no date).

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Holograph and two typescripts of novel with additional copied pages; two sets of galley proofs and one bound galley proof with revisions (1969) – all with authorial revisions (c.1968–9).

Series II: Papers, Journals and Diaries 37/1 Diaries (1932–3): two holograph notebooks with dated entries commencing 3 June 1932, ending 13 August 1933. 37/2 Notebook (1936): holograph, with inserted and stuck in pages. 37/3–4, 38/1–4 Dream Diaries: holograph notebooks for 1964–5, 1965– 6, 1972–5, 1979–80 (with inserts) and 1983–6, with photocopy of holograph notebook for 1980–1. 39–41 Date Books (1957–77): 74 pocket-sized spiral notebooks, each covering a quarter year. Each contains sporadic holograph entries with subjects such as appointments, visitors, weather, food and books read. 42/1 Notes and dance card (1926– 76): miscellaneous items. 42/2 Address book (1967–73). 42/3 Publicity and film schedules (1967 and 1975)  for the film The Comedians and the play The Return of A.J. Raffles. 42/4 Various works by other or unidentified authors: miscellaneous items. 42/5 Hugh Carleton Greene (1987): two legal documents. 42/6 Various folders and envelopes: there is the top of a box which housed 24 appointment books, 1973–7, and folders that contained various bits of Greene writing (one of which brackets

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the unfinished novel Lucius in the same timeframe as Our Man in Havana).

Series III: Correspondence 42/7 Letters to Graham Greene, A-Z (1924–67): 45 letters, including ones from Ford Madox Ford, Raymond Greene and Vivien Greene. 42/8–15, 43/1–8, 44/1–8, 42/1–7 Letters from Graham Greene: 42/8 A-Z (c.1925–77): 79 letters. 42/9 Tom Burns (1975–90): 20 letters. 42/10 Kevin Crossley-Holland (1987): one letter giving a recommendation for a reissued children’s novel. 42/11 R. N. Green-Armytage (Uncle Bob) (26 December; no year): one letter. 42/12–15, 43/1–8, 44/1–8, 45/1–2 Vivienne Dayrell-Browning (1925–7): 22 folders of holograph letters. 45/3 John Hayward (1931–63): four letters and nine cards. 45/4 Marcel Moré (1950): one typescript letter. 45/5 Michael Richey (1954–91): approximately 100 letters and postcards. 45/6 George Russo (1989): two letters. 45/7 Mr Spence (1929): five letters to a printer concerning The Man Within. 45/8–9 Third Party Correspondence, A-Z (1924–96): 12 letters, and three items from Vivien Greene, about her burning lots of her old letters to Graham and giving details of his infidelities.

Series IV: Laurence Pollinger General Files Boxes 46–90  – 153 folders, in chronological sequence (1950–91), mostly comprising correspondence between

Greene’s literary agents and third parties, including Greene’s letters to his agents, mainly typescripts. Each folder contains correspondence for one or two months.

Series V: Laurence Pollinger Copyright Assignment Files Boxes 90–96  – 147 folders, arranged alphabetically within sections on audio, film, publishing, stage and television rights (1933–93). Comprises Memoranda of Agreement, third party correspondence and related information concerning copyright. Correspondence with Greene in other Collections

The HRC archive possesses other correspondence relating to the writer which does not form part of the Graham Greene collection. These are: Julian Barnes Papers (1980): one letter, correcting two errors in a review. Sybille Bedford Papers (1973–8): four letters. Elizabeth Bowen Collection (1946): one letter concerning a book collection. Neville Braybrooke Collection (1964): one letter naming Greene’s three best books for 1964. Anthony Burgess Papers (undated c.1970s and 1980s): six letters. Richard Church Collection (1945): one letter to the poet and critic, pointing out errors in Church’s Everyman Anthology. Joseph Conrad Collection (1949): one letter to Mieczyslaw Grydzewski concerning Conrad’s legacy. Nancy Cunard Collection (1945): one letter.

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Robin Dalton Collection (1963): one letter, saying he was too busy to help with a film. Bernard Diederich (1965–90): 126 letters. A small number from Yvonne Cloetta to Diederich following Greene’s death. Constantine Fitzgibbon Collection (1965–6): three letters, some concerning letters from Dylan Thomas. Peter Glenville Papers (1958–82): 22 letters. Geoffrey Grigson Papers (1945): one letter. Gerald Hamilton Collection (1956): one letter. David Higham and Associates (1933– 50): a considerable body of correspondence between Greene and his literary agents concerning publishing matters. Mary Hutchinson Papers (1950): four letters. H. Montgomery Hyde Collection (1969): one letter. Alfred A. Knopf, Inc. Papers (1946– 67): scattered correspondence. Lechat/Greene  – R16505: six folders of material relating to A BurntOut Case, ‘Congo Journal’ and Greene’s relationship with Lechat (1961–2007). Five folders of 78 letters to Lechat (1958–88), and 15 from Lechat to Greene (1958–81). Philip Lindsay Collection (1961): one letter about the position of the invalid widow of Australian writer Lindsay. Norman Mailer Papers (1962): one letter. Julian McLaren-Ross Collection (1962): one letter concerning a manuscript Greene had been sent. 284

Lady Ottoline Morrell Collection (1930–2): ten letters, mainly concerning Greene’s early struggles to become an established writer. Herbert Edward Palmer Collection (undated, possibly 1926): one letter thanking the poet and critic for his help and praise, and enclosing a copy of Greene’s poem ‘The Unconquered’. William Plomer Papers (1936): one letter. Ezra Pound Collection (1957): two letters to Ronald Duncan concerning Pound. John Pudney Papers (1953): one letter. Leonard Russell Letters (1955–6): two letters. R. A. Scott-James (undated, probably 1938): one letter told the editor and literary critic that Greene did not want to write an article on libel, but offered one on Herbert Read and/or some reviews. Edith Sitwell Collection (1958–9): six letters mostly concerning social matters. Sacheverell Sitwell Collection (1940): one letter. Tom Stoppard Papers (1979): three letters. L. A. G. Strong Collection (undated): two letters and copy of ‘Sonnet’. Eric White Papers (undated): one letter concerning the possibility of meeting. Other Greene-related material in other collections: Paul Schrader Papers: draft screenplay for The Quiet American (2001). This Gun for Hire Collection: Albert Maltz: film treatment and screenplay (1941).

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Uncatalogued Files

These files, currently stored in three boxes, comprise more recent acquisitions and probably will be integrated into the main cataloguing system in due course. Therefore the file titles, box numbers and file codes (if given) should be considered temporary and may not apply in future. Box 1

R16498 National Security/Freedom of Information: the FBI’s dossier on Greene comprising official documents, reports, newspaper and journal clippings; manuscript and typescript copies of writer’s Freedom of Information article with amendments. J’Accuse (two files): two incomplete manuscripts, one mixed manuscript and typescript copy, one incomplete and two complete typescripts, five-page typescript ‘Letter from Nice’, typescript annexes – all with extensive changes; four manuscript letters to The Times; manuscript copies of letters to Daniel Guy and General Salan; letter from French Interior Ministry; notes about Daniel Guy. R16526 The Comedians: uncorrected proof copy. Contains minor printer’s notes and textual changes not in Greene’s hand. An Impossible Woman (undated): typescript, with revisions by Greene; published in 1975. 2008–11–001-P1 of 2 Correspondence with Kenneth Macpherson and Islay de Courcy Lyons (1952–91): 22 letters, four postcards, two telegrams; one letter to Lyons by Yvonne Cloetta.

2008–11–001-P- 2 of 2 Photographs (undated): 20 photographs, mainly of Greene, by Islay Lyons. 2008–11–008-P Greene letters to László Robert (1974–91): 40 letters. It’s a Battlefield: Memorandum of Agreement and letter. Contract dated 1934; 1981 letter from Greene’s secretary. 11–3–16-P Letter to Jane Zwisohn (1982), on various matters. 11–6–4 Two postcards (1938 and 1949), on directions to Clapham address and Vivien Greene’s change of address. 11–9–13-P Correspondence with Harold Guinzberg (1960–1). Box 2 (all coded R16486)

Correspondence with John Bray (1986–90 and undated): an exchange of about 30 letters, plus some undated drafts by Bray. Correspondence (1936–68): 92 letters to various recipients, in chronological order. Correspondence with John Carter and John Hetherington (1963–73): an assortment of third party correspondence, principally between Carter and Hetherington, plus newspaper and magazine cuttings all relating to publication of Victorian Detective Fiction book. Six letters between Greene and Carter relating to the sale of Greene’s manuscripts. Correspondence (1970s). 1970–4: letters to variety of aspiring writers and book collectors. 1975–9: further exchanges with book collectors and Victorian Detective Fiction enthusiasts such as Eric Quayle. 285

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Correspondence (1980–3). 1980: further correspondence with members of public. Letter from Norman Sherry to Rolando Pieraccini on Greene’s behalf. 1981: correspondence with Quayle, Karen Radell, Pieraccini and others. 1982: correspondence with Pieraccini. 1983: three letters to Mr Talbot. Correspondence (1984–7): 46 letters to various recipients, in chronological order. Correspondence (1988–9 and date undetermined): 1988–9: correspondence with Pieraccini, Quayle and Talbot. ‘Undetermined letters’: a small selection of undated letters to various individuals or corporate bodies. Miscellaneous Writings: five miscellaneous holograph and typed items: a holograph quotation from Monsignor Quixote; a signed holograph quotation from The Power and the Glory; a typed first four paragraphs from The Human Factor, signed by Greene; a holograph note of three ‘Books of the Year’ for 1983; and a photocopy of Greene’s introduction to The Honorary Consul. Greene’s copy of John Masters’ Bhowani Junction (1954), with annotations by Greene. Articles about Greene (1970s–2000): reviews, interviews and articles. Reviews: manuscript and typescript reviews of Monsignor Quixote and Dr Fischer of Geneva or The Bomb Party by Julian Symons. Photo Images: eight assorted photographs of Greene, undated and principally post-war. Box 3

R15130 and R15283 Greene letters to Philip Dossé (1978): two letters. 286

R15102 National Service Form; Typescripts. Section of form, completed by Greene; typescripts of ‘A Birthday in October’; ‘Chile: The Dangerous Edge’; Jim Braddon and the War Criminal, ‘Lines on the Palm’; ‘The Lotus Land’; ‘The Nightmare Republic’; ‘The Other’; ‘The Pleasure of Being Deported’; two typescripts of The Third Man introduction for the UK Collected Edition. R15311 Jim Braddon and the War Criminal: undated typescript, with authorial revisions, of film treatment first published in 1985; letter (1986). R15270 and R15442 Greene letters to Christopher Hawtree (1983–91): 45 letters; other material relating to Hawtree, Greene and Anthony Mockler. R19302 The Diaries of Evelyn Waugh and related correspondence: five letters (1976) to Philip Dossé regarding Greene’s review of The Diaries of Evelyn Waugh. Typescript of review with amendments. R15102 The Stranger’s Hand: 29page holograph of the unfinished film story (undated, but after 1949); typescript of an earlier and shorter draft of the story, with synopsis of how the story will continue to its finish (undated, but probably late 1949). R15302 Typed letters to Monsieur Moré and to Jean Stafford: seven letters to Moré (1950–1) and one to Stafford (1948). R15266 Correspondence: Peter Quennell, Mr Brian, Vivien Greene: seven letters to Quennell; one each to Brian and Vivien Greene. R15386 Saint Joan (1957): Cutting Continuity and Dialogue Continuity film scripts.

Boston, Massachusetts

[‘Exchange’] Travels with My Aunt (1972): film screenplay. R15311 Handwritten working draft of unfinished novel, untitled: three-page manuscript with changes. R16476 This Gun for Hire (1940): film screenplay. 09–02–06-P Letters to Publishers (1938–65): over 30 letters to employees of Viking Press, and a range of publicity material.

Boston, Massachusetts BOSTON COLLEGE: John J. Burns Library: Archives and Manuscripts Department

www.bc.edu/burns Graham Greene Papers: MS1995–03

Series I: Correspondence The names in bold are those whose correspondence with Greene is considered in Part 1. Sub-series A: General 1/1 Abbot, Elizabeth (1987–91) 1/2 Abel, Paul (1970) 1/3 Abley, Mark (1979–80) 1/4–5 Acton, Harold (1924–88) 1/6 Adam, George (1959) 1/7 Adams, Richard (1984) 1/8–9 Adamson, Judy (1980–90) 1/10 Addams, Dawn (1965?) 1/11 Ades, Brigitte (1988) 1/12 Adler, Larry (undated) 1/13 Ahounou, Bruce (1987–90) 1/14 Akhtar, Dr. Shabbir (1989–90) 1/15 Albery, Nobuko and Lady (1984–8) 1/16 Albrecht, Nicholas (1990) 1/17 Aldus, Rolf (1965)

1/18 Allain, Soizic (1971–91) 1/19 Allain, Yves (1966–7) 1/20 Allen, Joy (1985) 1/21 Allott, Miriam (1978) 1/22 Almissana, Yvonne (1987) 1/23 Altquist, Gunnel (1958) 1/24 Alvarez-van der Feltz, Elisabeth (1987) 1/25 Alvarez, Jose (1987) 1/26 Ambler, Eric (1961) 1/27 Amitiés Francais pour la Déliverance des Juis au Moyén-Orient (1969–70) 1/28 Amnesty International (1967–90) 1/29 Amsalhem, Lucie (1988) 1/30 Amsler, Bette (1985–90) 1/31 Anders, Gunther (1962) 1/32 Anderson, Alan (1971–83) 1/33 Anderson, Paul (1982?) 1/34 Anelli, Patrick (1982) 1/35 Anikin, G.V. (1970–1) 1/36 Anglo-Argentine Society (1984) 1/37 Ankerson, Dudley (1981–6) 1/38 Anreus, Alejandro (1980–4) 1/39 Anrup, Roland (1990) 1/40 Anstey, Lady (?) 1/41 Anstey, John (1968–76) 1/42 Arboleda, Alma de (1981–2) 1/43 Ardizzone, Catharine (1989) 1/43 Ardizzone, Edward (1958–74) 1/44 Aristov, A. (1985) 1/45 Armour, Andrew (1984) 1/46 Armstrong, James (1991) 1/47 Armstrong, Terence (1985–6) 1/48 Arnold, Bruce (1988–90) 1/49 Arns, Paulo Cardinal (1990) 1/50 Ashbridge, David (1986–9) 1/51 Ashley, Ardythe (1985) 1/52 Associations, Various (undated) 1/53 Athill, Diana (1980) 1/54 Attenborough, Richard (1966–86) 1/55 Auden, W.H. (1951) 1/56 Audoin, Elizabeth (1960) 287

Boston, Massachusetts

Austin, David (1982) Axelroud, Patrick (1965) Ayer, Alfred (1988) 1/57 Ayerza, Laura (1987) 2/1 Babel, Isaac (1964) 2/2 Bagnold, Mid? (1964) Baldick, Dr. Robert (1962) Baldwin, James (1987) Bank, John (1980) Banks, Fr. John (1987) Banter, George (1979) 2/3 Bainbridge, Beryl (1987–90) 2/4 Balcombe, Joe and Roslyn (1967) 2/5 Baldwin, Frank (1977) 2/6 Balfour, Michael (1985–8) 2/7 Balliol College (1980–9) 2/8 Baptiste (1967) 2/9 Barber, Larry (1991) Barclay, Juliet (1988) Barham, Ave (1990) 2/10 Barker, George (1967?–71) 2/11 Barker, Jonathon (1985–6) 2/12 Barnsley, Alan (1954–64) 2/13 Barthélémy, Françoise (1987) 2/14 Barton, John (1969) Bartsch, Ernst (1984) Bathurst, David (1986) Bausch, Professor Yvon (1990) 2/15 Bath, the Marquis of (1970–4) 2/16 Beaton, Cecil (undated) Beaumont, Hugh (1972) Bell, Cynthia (1990) Belline, M. (1971) Belloc, Hilaire (1984) Belmondo, Paul (1979) 2/17 Bedford, Sybille (1973–8) 2/18 Behrens, Justin (1981–7) 2/19 Belford, Barbara (1986–90) 2/20 Belmont, Georges (1969–73) 2/21 Belov, S. (1971–3) 2/22 Beneš, Jan (1973) 2/23 Benten, Peggy (1972–90) 288

2/24 Bentley, Tom (1986) Bentley, Nicolas (1944) Bergholm, Tauno (1983) Bergstrom, Lasse (1989) Bermbach, Dr. Peter (1988) Bernabei (1989) Bernard, Paule (1961) Berny-Durnec, Bernadette (1987) 2/25 Berkhamsted School (1975–90) 2/26 Bernanos, J. (1967–8) 2/27 Berrigan, Fr. Daniel (1977) Berryman, Phillip (1986) Berthoud, Roger (1984) Bertram, Barbara (undated) Bertrand, Michel (1984) Best, Nicholas (1987) Besterveld, Petal (1984–5) 2/28 Bertrand, Anna (1983) 2/29–31 Berval, Rene de (1951–76) 2/32 Betjeman, John (1946–83) Betts, P. (1989) Biche, Marie (1991) Binoche, General (1978) Björkstén, Ingmar (1979) 2/33 Bewley, Phyllis (1959) 2/34 Biafra, Republic of (1968) 2/35 Biderman, Sol (1987–90) 2/36 Bidwell, George (1956) 2/37 Bischoff, Rev. Anthony (1983–91) 2/38 Björk, Anita (1978–90) 2/39 Blackburn, Julyia (1985–6) Blackwell, Basil (1983) Blau, Peter (1988) Blau, Ruth (1988) Bloom, Ursula (?) Blunt, Wilfred Scawen (1976–7) Blythman, Ana (1980) 2/40 Blanchet, Fr. André (1961) 2/41 Bland, Tony (1961–83) 2/42 Blondel, Dr. Christian (1952–6) 2/43 Bloomsbury Publishing Limited (1987)

Boston, Massachusetts

2/44 Bodard, Lucien (1955) 2/45 Bodeaux, Jean-Pierre (1981) Boer (1983) Bogaards, Dr. Winnifred (1989) Böker, Uwe (1973) Böll, Heinrich (1982) Bolt, Ben (1984) Bond, Michael (1988–9) 2/46 Bogatyrev, A. (1959–60) 2/47 Bonhote (1952) 2/48 Bonnet, Serge (1954–9) 2/49 Book Suppliers (1974–85) 2/50 Borge, Tomás (1980–7) 2/51 Boscredon, Napo (undated) Bossard, Fr. Paul (1983) Boucarul? (undated) Bourgeois (1986) Bourget, Andrew (1991) 2/52 Bosi, Carla (1988–9) 2/53 Bosse, Malcolm (1977–89) 2/54 Botschev, Dimitar (1985–90) 2/55 Boucarut, Hố (1956) 2/56 Bourgeois, Fr. Roy (1987–8) 2/57 Bowker, Gordon (1989–90) Bowman, Conor (1990) Boyle, Andrew (1979) 3/1 Bráblík, František (1969) 3/2–3 Bradbury, David (1981–90) 3/4 Bradbury, Ray (1979–85) 3/5 Braine-Hartnell, Arthur (1979–85) 3/6 Brandicourt, Joseph (1954) Braukman, Grisela (1988–9) Braybrooke, Neville (1989–90) Brazda, Josef (1972) Brennan, Joseph (1980) Brenner, Marie (1986) 3/7 Bratby, John (1989) 3/8 Bray, John (1988–90) 3/9 Brennan, Neil (1988–90) 3/10 Breslin, John (1986–7) 3/11 Breytenbach, Breyten (1987–9) Bricusse, Leslie (1989)

Bris, Michel Le (1988) Bristol Express Theatre Company (undated) Broadhurst, Dr. D. (1985) Brock, Jean van (1954) Brome, Vincent (1986) Brooker (1982) Brown, Blake (1969–75) 3/12 Brighton Festival Society (1983–4) 3/13 Britain Cuba Association (1967) 3/14 British Council (1988?–90) 3/15 British European Airways (1960) 3/16–17 Brook, Peter (1954–87) 3/18 Brophy, Brigid (1973–7) 3/19 Brown, Roger (1968) 3/20 Brownstein, Shale (1982) 3/21 Brousse, Guy (1973) Brown, John (1968) Brull, Pierre (1969) Brunette, Michele (undated) Brusch-Howald, Irma (1990) Buchanan, Jeffrey (1986) Buguet, Jacqueline (1990) Bukovsky (1980) Buren, Raymond (1984) 3/22 Bryden, Ronald (1964–5) 3/23 Buckley, Helen (1957) Bulgakov (1988) Busch, Vicky (1989) Butcher, Pablo (1984) Butler, Bishop B. (1978–84) Buttram, David (1973–7) Byrne, Miread (1989) 3/24–25 Buford, Bill (1983–90) 3/26 Bulgarian Writers, Union of (1978) 3/27 Bull, George (1974–88) 3/28 Burchett, Wilfred (1969–82) 3/29 Burgess, Anthony (1968–88) 3/30–31 Burns, Tom (1976–91) 3/32 Byrne, Kevin (1980–4) 3/33 Bzokhin, Yri (1975) 4/1 Cabana, Raymond (1987) 289

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Cladwell, Erskine (1979) Callil, Carmen (1980–8) Cameron, Denis (1982) Camoys, Lady (1970) Camoys, Lord Thomas (1989–91) 4/2–4 Cairncross, John (1963–93) 4/5 Calder, John (1963–7) 4/6 Calder-Marshall, Arthur (1955–82) 4/7 Calder, Ritchie (1960) 4/8 Cameron, Euan (1974–89) 4/9 Campagna, Capt. Philip (1980–9) 4/10 Campbell, A. (1984) 4/11 Campbell, David (1990) Caneval, General (1954) Carnelutti, Allegra (1983) Carrie (1987) 4/12 Candy, Joyce (1982–3) 4/13 Cang, Lucky Lê-Trung (1956) 4/14 Cannan, Denis (1956–90) 4/15 Capra, Frank (1978) 4/16 Caracciolo, Peter (1989) 4/17 Caraman, Phillip (1956–73) 4/18 Cardenal, Fr. Ernesto (1987–90) 4/19 Carleton, Janet (1963–87) 4/20 Carr, Barbara Comyns (1958–80) 4/21 Carrigan, Ana (1985) 4/22 Carter, Mark Bonham (1966) 4/23 Cary, Robert (1983) 4/24 Carÿs, Jef Van (1988) Cash, William (1987) Cassen, Bernard (1973) Castel-Branco, Chantal (1988) Cates, Geoffrey (1981) Caute, David (1989) 4/25 Casanova, Christian (1971) 4/26 Casanova, Paz (1981–9) 4/27 Castillo, Conchita and Mario (1983) 4/28 Catholic Institute for International Relations (1983–8) 4/29 Catling, Patrick (1975–90) 4/30 Cavalcanti (1959–74) 290

4/31 Cavendish, Anthony (1986) Cecil, David (1955) Cayenteno (1981) Cederschiold, Elizabeth (1988) Cesaire (1966) Charles-Roux, Edmonde (?) Charles, Robert (1983) Charphy, Claire (1984) Charter 77 (1977) Chavkin, Allan (1988–9) 4/32 Cecil, Robert (1987–9) 4/33–5 Cerio, Laetitia (1974–90) 4/36 Challoner, Ronnie (1986–91) 4/37–8 Chamberlain, Greg (1976–90) 4/39 Chancellor, Alexander (1984–5) 4/40 Chaplin, Charlie (1952–72) 4/41 Chapman, Peter (1980–2) 4/42 Chatto and Windus (1985–6) 4/43 Chernoff, Paul (1984) Chesterton Review (1989) Chipp, David (1985) Chuen, Chan (1983) Cisarovsky, Josef (1990) 4/44 Chéruzel, Maurice (1963) 4/45 Chi, Msgr. Phan Ngoc (1954) 4/46 Chitnis, Lord (1986–7) 4/47 Chodakowski, Jan (1981–2) 4/48 Chonez, Claudine (undated–1965) 4/49 Chorley, Katherine (1962) 4/50 Christie, Julie (1984–5) 4/51 Chtcharanski, Avital (1981) 4/52 Chudoba, Bohdan (1948) 4/53 Churchill, Thomas (1966) 4/54 Čichovský, Václav (1974) 4/55 Čivrný, Lumír (1969) 5/1 Clack, Vivien (1990) Clare, George (1981–2) Clark, Paul (1979) Clay, Enid (1951) Clements, Dr. Charles (1985) Coats, Steve (1989) 5/2 Clairouin, Denyse (1944–undated)

Boston, Massachusetts

5/3 Coast, John (1953) 5/4 Cockburn, Claud (1965–85) 5/5 Codrington, John (1986) Coghill, Roger (1982) Cohn, Leonie (1981–2) Cole, Alberta (1986) Colefax, Sybil (1948) Collins, Peter (1981–4) Conklin, Gary (1985) Conrad, Joseph (1959) 5/6 Coelho, Furtado (1975) 5/7 Cogney, Général (1954–6) 5/8 Collard, Barbara (1975–84) 5/9 Con, Pham Thi (1955–68) 5/10–18 Connell, Mary (1978–90) 5/19 Connolly, Deirdre (1975) 5/20 Cooper, Lady Diana (1948–84) 5/21 Convoys, Lady Jeanne (1965–82) 5/22 Convoys, Lord Thomas (1977) 5/23 Cook, Sheila (1988) Cooke, Alistair (1985) Coonrod, Karin (1985) Cormier, Robert (1990) Cornet-Blas, Sylvia (1985) Cornillot, Jean (1970) Corsi, Carlo (1982) Cory, Desmond (1980) 5/24 Cornwell, David (1964–82) 5/25 Cortez, Pedro (1981–9) 5/26 Cosgrove, Brian (1989) Coste, Mahaut (1985) Coster, Roger (1963) Crafer, James (1987) Craig, W. (1976) Crawley, Tony (1989) Creese, Richard (1984) Crewe, Quintin (1986) Crichlow, Dr. T. (1982) Critchfield, Richard (1989) 5/27 Costello, Rudolph (1978) 5/28 Courthion, Pierrette (1972) 5/29 Cronoset, Rise (1983)

5/30 Crook, Arthur (1990) Crossley-Holland, Kevin (1987) Crossthwaite-Eyre, Maritsky (1950–84) Crowell, Frank (1984) 5/31 Crossland, Margaret (1972–3) 5/32 Crown Publishing (1988) Cox, Prof. Harvey (1989) Cox, Peter (1986) CUBA Magazine (1969) Cuddy, Rev. Paul (1987) Culhane, John (1981) Curtis (1967) Curtis, Simon (1989) Czollek, Walter (1966–8) 5/33 Couto, Alban (1964–8) 5/34–8 Couto, Maria (1969–92) 5/39 Cuba Hurrican Relief Fund (1963) 5/40 Cuban National Committee (1965) 5/41 Čulík, Jan (1959–90) 5/42 Cunneen, Joseph (1989) 5/43 Curran, Andrew (1963) 6/1 Dahl, Roald (1983–6) 6/2 Daly, Bishop Edward (1976) 6/3 Dangulov (1987) D’Arcy, Martin (1948) Dávalos, Armando (1963) Davidson (1986) Davies, Michael (1984) Davis, Alison (1986) Davis, Peter (1986–7) 6/4 Daniel, Rev. Ivor (1953–63) 6/5 Daniel, Yuliy (1967–70) 6/6 Danielssen, Bengt (1960–80) 6/7 Davenport, John (1955–67) 6/8 Davies, Bridget (1978–87) 6/9 Davies, Gwen (1958) 6/10 Davies, Peter (1983) 6/11 Day, Douglas (1985) Dean (1986) Débarbat, Robert (1954) Denny, R. (1988–9) Denège, B. (undated) 291

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6/12 Deboisvieux, Gilberte (1988) 6/13 Debost, Gerard (1986–7) 6/14 Debray, Regis (1967–9) 6/15 De Courcy-Lyons, Islay (1966–78) 6/16 d’Escoto, Francisco (1988–90) 6/17 Delargy, Hugh (1958) 6/18 Deon, Michel (1983) Desenclos, Lyonel (1966) Deveroux, James, S. J. (1985) Dickey, Christopher (1990) Dilworth, Thomas (1993) Divomlikoff, Laur (1978–9) Dixon, Chris (1988) 6/19 Desir, Hermann (1969–76) 6/20 Diakonova, Nina (1978) 6/21–29 Diederich, Bernard (1965–93) 6/30 Diẽn, Rev. Joseph (1954) 6/31 Dimitrov, M. (1984–5) 6/32 Doan, Paul (1958) 6/33–4 Dobraczynski, Jan (1955–81) 6/35 Dolmage-Heath, Paul (1982) Donlon, Seán (1989) Donon, Jean-Claude (1987) Dorian, Jean-Pierre (1965) Douglas-Home, William (1956–86) Doran, Ken (1991) Dozier, Thomas (1976–91) 6/36 Donaghy, Henry (1976–91) 6/37 Donnelly, Desmond (1961) 6/38 Donner, Jocelyn (née Rickards) (1977–90) – see also 23/28 6/39–40 Dossé, Philip (1977–80) 6/41 Douglas, Mitch (1990) 6/42–3 Douglas, Norman (1948–66) 6/44 Drabble, Margaret (1987) Drabek, Vladimir (1982) Drew, C. (1986) Drew, David (1987) Dreufus, Jules (undated) Droit, Michel (1967) 6/45 Draper, Peter (1980–5) 6/46 Driver, Justin (1984–8) 292

6/47 Druon, Maurice (1967–70) 7/1a Duffell, M.(1980–3) 7/1 Duchamps-Bretiguy, Robert (1956) Duckworth, Eddie (1978) Dudgeon, Patrick (1987–8) Dufrainne, J. (1968) Dumas, Joel (1971) Durschmied, Erik (1987) Duseliuses, Anhild (1975–88) Duve, Freimut (1985) 7/2 Duffell, Peter (1977–87) 7/3 Dunbar, Elisabeth (1986) 7/4–5 Duncan, Andrew (1980–91) 7/6–24 Durán, Leopoldo (1964–93) 8/1 Eadie, Bruce (1989) Eames, Bishop Robin (1976) Eberle, Admiral Sir James (1987) Edwards, Anne (1987–8) Egremont, Lord Max (1977) 8/2 Eads, Peter (1988–90) 8/3 Earley, Pete (1987) 8/4 Eberlein, Gotthard (1963–4) 8/5 Edwards, Jorge (1974–84) 8/6 Eggar, Samantha (1961) 8/7 Ekins, Paul (1987) 8/8 Ekstrom, Dr. Per (1987) 8/9 Eland Books (1982–9) 8/10 Eliot, T. S. (1955–85) 8/11 Elliot, Christopher (1986) Elliot, Nicholas (1987) Emmaneul, Pierre (1971) Erlebach, Prof. Peter (1990) 8/12 Elliot, Maurice (1977–8) 8/13 Elliot, Michael (1974–84) 8/14 El Salvador Committee for Human Rights (1989) 8/15 El Salvador Solidarity Campaign (1982–3) 8/16–18 Emerson, Gloria (1977–91) 8/19–20 Endo, Shusako (1969–86) 8/21–22 English Book Club, Novosibirsk (1986–91)

Boston, Massachusetts

8/23 Ephrati, Yigael (1969) 8/24 Espriella, Ricardo de la (1984) Estang (1961) Evans, Rosemary (1990) Ewalt, George (1985) 8/25 Eve, Martin (1965) 8/26–27 Ewart-Biggs, Christopher (1976–9) 8/28 Eyal, Eli (1982) 8/29 Ezeh, Peter-Jazzy (1985) 9/1 Fagin, Michael (1988–9) Faulkner, Andrew (1986–7) Faulkner, Brian (1976) Fernandez, Marisin (1984) 9/2 Fair Play for Cuba Committee (1960) 9/3 Falk, Quentin (1983–4) 9/4 Fantina, Richard (1986–7) 9/5 Fantoni, Barry (1980–7) 9/6 Farmer, Paul (1973–93) 9/7 Feo, Jose (1969) 9/8 Fernandes, Thomas (1964) 9/9 Fernández, Pablo (1963–81) 9/10 Ferraioli, Monica (1988–9) Ferris, Paul (1985) Fewell, Michael (1984) Finley, Mark (1989) Fisher, Barbara (1987) Fishwick, Michael (1988) Fitt, G. (1976) 9/11 Fialová, Dr. Václava (1969) 9/12 Fielding, Gabriel (1985–6) 9/13 Fields, Gracie (1959–61) 9/14 Findlater, Richard (1959–66) 9/15 Fitzgibbon, Constantine (1965–80) 9/16 Fitzherbert, Margaret (1983) Flanagan, Patrick (1983) Florczak, Zbigniew (1988) Flower, Desmond (1989) Follereau, Raoul (1968) Fonbonne, J. (1954) 9/17 Fleischmann, Ivo (1976)

9/18 Fleming, Thomas (1986) 9/19 Flemyng, Robert (1957–58) 9/20 Fonteyn, Margot (1952–9) 9/21–22 Forbes, Bryan (1971–91) 9/23–7 Ford, Ford Maddox (1948–67) 9/28 Ford, Hugh (1976) Ford, John (1979) Ford, Robert (1985) Forrest, Jillian (1990) Fowler, Giles (1987) Fox, Canon John (1983) 9/29 Fordham, Isabel (1966–7) 9/30 Foreign Literature Monthly (1961– 84) 9/31 Forest, Jim (1987–9) 9/32 Fothergill, John (1951) 9/33 Fox, Charles (1979–88) 9/34 Foxon, David (1963–4) 9/35 Francis, Clive (1976–87) 9/36–40 Franck, Dr.  Frederick (1959– 82) 9/41 Franco, Joao (1964) 9/42 Francovich, Allan (1989) 9/43 Frans, Edmee (1986) Freeling, Nicolas (1982) Frere, Pat (1988–90) Friedman, Rosemary (1986) Friel, James (1984) 9/44 Franta (1989) 9/45 Fraser, Keath (1987–90) 9/46 Fregosi, Paul (1985–9) 9/47–8 Friedrichs, Frans (1983–6) 9/49 Frühling, Luz and Michael (1987) 9/50 Fulford, Roger (1963) 9/51 Fulton, James (1986) Fuong, Lucienne (1955) Fu tao-tao (1984) Fu Weici (1987) Furnas, J. (1981–4) 10/1 Gaetjens, Richard (1986) Gail, Fr. Paul de (1971) Galbraith, John Kenneth (1988) 293

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Gale, D. de (1989) Galliard-Risler, Francine (1987) 10/2 Gallagher, Michael (1963–82) 10/3 Galván, Enrique Tierno (1980–3) 10/4 Gambiez, General M. (1954) 10/5 Gandy, Alain (1990) Grant, Roland (1987) Gardner, John (1980) Garnier, Jehu (1969) Garnons-Williams, Barnett (1981) Garton-Ash, Timothy (1989) 10/6 Gardnier, Margaret (1970–86) 10/7 Gautier, Jean-Jacques (1954–70) 10/8 Geary, Fr. John (1988) Gellico, Paul (1968) Gelman, Juan (1987) Gerber, Richard (1990) Gerhart, Mary (1976) 10/9 Genet, Madeleine (1971–7) 10/10–11 Georgetown University Library (1985–93) 10/12 Geraci, Vincent John (1991) 10/13 Gerhardie, William (1965–72) 10/14 Ghana (1986–7) 10/15 Gheeraeit, John (1989–92) Gibson, Ian (1980–9) Gillespie, Elgy (1981) Gilliatt, Penelope (1961–77) Ginna, Robert (1981) Giroud, Francoise (1963) Gish, Lillian (1967) Glasson, Francis (1978) Glastonbury, Graham (1990) Glenavy, Vivienne (1984–5) Glendinning, Victoria (1975) 10/16 Gibson, John (1980–8) 10/17 Gielgud, John (1958–72) 10/18 Gilson, Charles (1968–72) 10/19 Giovanni, Norman di (1987–9) 10/20 Girodias, Maurice (1959–79) 10/21 Gjerdum, Aase (1980–7) 10/22 Gladstone, David (1986–91) 294

10/23–5 Glenville, Peter (1953–84) 10/26 Goalec, Francoise and Martina (1984–8?) GPA Book Award (1989) Goddard, Mavis (1984) Godoff, Ann (1987) Goldsmith, Sam (1987) 10/27 Goldsmith, John (1965) 10/28 Gollancz, Victor (1959–67) 10/29 Gonzalez, Angel (1974) 10/30 Goodman, Jack (1960) 10/31 Gordon, Giles (1989) Gostwick, Giles (1990) Graesser, Fern (1993) Granada Publishing Limited (1970) Granma (1975) 10/32 Grabendorff, Wolf (1984–7) 10/33 Graf, William (1959) 10/34 Graham, Gore (1968–77) 10/35 Graham-Yooll, Andrew (1978–89) 10/36–7 Grantley, June (1975–83?) 10/38 Graves, Richard (1978) 10/39 Gray, Pauline (1977–89) 10/40 Greally, John (1965–8) 10/41 Greaves, Elwyn (1988) Green, Julyian (1950) Green, Martin (1987) Greene, Richard D. (1950) 10/42 Grieg, Nordhal (undated–1982) 10/43 Grindea, Miron (1977–84) 10/44 Grisewood, Harman (1986) Guerard, Albert (undated) Guerville-Martin, Gilberte de (1987) Guevara, Ché (1967) Guillaume, Gilles (1952) Guinness, Sam (1963) Gulick, Helen (1977) Gunn, Rufus (1973–4) Gunnarsson, Bo (1970) Guy, Patrick (1989) 10/45 Guinness, Sir Alec (1959–91) 11/1 Hackett, Sir John (1973)

Boston, Massachusetts

11/2 Haffenden, John (1979–80) 11/3 Hagstrom, Carl-Gustov (1990) Haiti Support Committee (1989) Hale (1984) Hamamatsu, Yoshiaki (1989) Hampton, Peter (1987) Hammrell, Sven (1987) Harmon, Maurice (1989) 11/4 Hájek, Dr. Jiři (1967) 11/5 Haldane, Professor J. (1964) 11/6 Hall, Peter (1961) 11/7 Halliday, Jon (1970) 11/8 Halperin, Israel (1989) 11/9 Hanning, James (1988–90) 11/10 Harding, Gilbert (1952–58) 11/11 Hare, Sophie (1990) 11/12 Harmsworth, Desmond (1960) 11/13 Harper, Roy (1990) Harriman, Ed (1987) Harrison, Lady Mercia (1983–90) Hart, Armando (1963) Harwood, Ronald (1988) Hasseck, Martin (1988) Hayward, Stephen (1989) 11/14 Harriott, John (1983–90) 11/15 Harrison, John (1983) 11/16 Harrison, Robert (1979) 11/17 Hartl, Karl (1974–5) 11/18 Hartviksen, Ronn (1978–87) 11/19 Hastings, Selina (1987) 11/20 Hauptfuhrer, Fred (1981) 11/21 Havel, President Václav (1976– 90) 11/22 Hawker, Beatrice (1985) 11/23–7 Hawtree, Christopher (1980– 94?) 11/28 Hayes, Harold (1977) 11/29 Hayward, John (1965) 11/30 Heald, Tim (1989) Healy, Fr. Timothy (1986) Hebblethwaite, Peter (1986) Heffers Stationers (1977)

Hellemann, Jarl (1990) Henderson, Lesley (1990) Hennessey, Prof. Alistair (1986) 11/31 Heath, Prime Minister Edward (1970) 11/32 Hentz, Fr. Otto (1986) 11/33 Hess, Rudolph (1969–71) 11/34 Heygate, John (1966–76) 11/35 Higdon, David (1977–83) 11/36 Higgins, George (1950) 11/37 Highsmith, Patricia (1969–90) 11/38 Hill, Alan (1986–9) 11/39 Hill, Caroline (1976) 11/40 Hill, Christopher (1965–90) 11/41 Hill, Nicolas (1984) 11/42 Hill, Roland (1986) Hilde, Keila (1985–6) Hippisley-Cox, Alex (1990) Hitch, Brian (1963) Hitzer, Friedrich (1987) 11/43 Hill, Susan (1960) 11/44 Hillier, Bevis (1983–90) 12/1 Hirschhorn, Clive (1988–90) 12/2 Hitchcock, Veronica (1987?) 12/3 Hochstetter, Leo (1952) Hodges, Michael (1990) Hojbjerg-Hansen, H. (1988) Holton (1988) Homfrey-Davies, D. (1988) Horlin, Guy (1952) Hornsby, Claire (1989) Horvath, Gabor (1987) 12/4 Hoffer, Bates (1979–81) 12/5 Hogarth, Paul (1969–91) 12/6 Hollis, Christorpher (1949) 12/7 Holloway, Mark (1970) 12/8–11 Hostovsky, Egon (1949–73) 12/12 Howard, Trevor (1976) 12/13 Howe, Russell (1988–9) 12/14 Houles, Michael (1990) Hreniuc, Laurentiu (1991) Hughs, Carol (1989) 295

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Hungronje, Ann (1988) Hurley, Eileen (1988) 12/15 Hubbard, L. Ron (1978) 12/16–19 Huerta, Fr. Alberto, S. J. (1983– 93) 12/20 Hughes, Ted (1986) 12/21 Humphreys, Emyr (1984–6) 12/22 Hungarian Writers’ Association (1956–9) 12/23 Huntingdon, Lord and Lady (1957– 8) 12/24 Huntington, Margaret (1957–67) 13/1 Inglis, Brian (1973–85) 13/2 Ingrams, Richard (1979–87) 13/3–7 Igoe, William (1964–91) 13/8 Ignator, Alex (1984) Ingrand, Jaques (1963) Islam, Prof. (1989) Ismi, Asad (1990) Italiaander, Rolf (1969) Iyer, Pico (1989) Izakor, Boris (1979) 13/9 Institute of Contemporary Arts (1967) 13/10 International Advisory Board (1988–9) 13/11 Interpol Museum (1972) 13/12 Isherwood, Christopher (1964–83) 13/13–16 Ivasheva, Valentina (1959–90) 13/17–18 Izakov, Boris (1958–87) 13/19 Jack, Ian (1983–4) Jacobs, W. W. (1976) James, Bernard (1980) Janeway (1989) Janouch, Prof. Frantisek (1988) John, Robert (1959) 13/20 Jacobs, Steve (1987–8) 13/21 Jackson, Sarah (1988) 13/22 James, Clive (1972) 13/23 Jameson, Margaret Storm (1973) 13/24 Jeíinek, Miroslav (1967–68) 13/25 Jerhot, Čestmír (1970) 296

13/26 Jimenez, Antonio (1982–5) 13/27–8 Joannon, Pierre (1976–93) 13/29 Johnová, Herma (1969–84) 13/30 Jolas, Maria (1973) Jones, Adam (1975) Jones, David (1977) Jones, Professor (1978) Jordan, Andy (1987) Jousselin, Dr. André (1988) 13/31 Jones, Audrey (1961–8) 11/32 Jønsson, Bjørn (1982–8) 13/33 Joppe, Ben (1952) 13/34 Judd, Alan (1982–90) 13/35 Juel-Jansen, Dr. Beut (1981–2) 13/36 Julien, Fr. Jean (1971) 13/37 Juračka, Ján (1973–6) 14/1 Kainrath, Josef (1984) Kasterine, Dmitri (1982) Kazammanula, Kuzmangazy (1983–4) 14/2 Kalman, Andras (1969–82) 14/3 Kanelopulos, Gerry (1984–90) 14/4 Kann, Kurt (1963) 14/5 Kantürková, Eva (1982–3) 14/6 Karsh, Yousuf (1965) 14/7 Kasswan, Elieser (1963) 14/8 Katz, Pierre (1978–82) 14/9 Keane, John (1988–9) Kedros, Andre (1981) Keley, Linda (undated) Kelly, David (1987–9) Kennedy, Douglas (1990) Kenrick, Bruce (1990) Keyser, Ethel de (1989) 14/10 Kearney, Eva (1978) 14/11 Kee, Robert (1985–9) 14/12 Kelly, Richard (1985–9) 14/13 Kennedy, Ludovic (1962) 14/14 Kenny, Anthony (1980–4) 14/15 Keogh, Dermot (1982–6) 14/16 re: Kerler, Yosif Borisovich (1969) 14/17 Kętrzyński, Wojciech (1956)

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14/18 Khadka, Rajendra (1983) Kirby, Prof. I. (1986) King, D. (1980) Knudsen, Mrs. Sivilingenior (1982) 14/19 Khorounzhy, Nicolas (1986–8) 14/20 King, Prof. James (1988) 14/21 Kinmonth, Margy (1987–8) 14/22 Kirstilä, Pentti (1980–8) 14/23 Knox, Tony (1987) 14/24 Koch, Christopher (1985) Koch, Thilo (1973) Koegler, Ronald (1980) Kolbach, F. (1954) Korda, Vincent (1976) Koska, Helena (1990) Koss, Nicholas (1987) Koudriavsteva, Tanya (1991) 14/25 Koestler, Arthur (1950–3) 14/26 Kokbøl, Ellen (1984–8) 14/27 Kollek, Teddy (1980–91) 14/28 Konstantinovsky, Valeria (1969) 14/29 Kosolapov, V. (1961) 14/30 Koudriavsteva, Tatiana (1969–90) 14/31 Kovalenko, Youri (1986) 14/32 Kramer, Lyn (1990) 14/33 Krause, Therese (1991) Kulshrestha, Dr. J. (1979) Küng, Prof. Hans (1981–2) Kysela, Frank (1983–4) 14/34 Krishnamurti, G. (1976–86) 14/35–6 Krugerskaya, Oksana (1958– 80) 14/37 Kubrick, Stanley (1981) 14/38 Kuehnelt-Leddihn, Eric v. (1967– 85) 14/39 Kullenberg, Annette (1978–80) 14/40 Kulturny Život (1968) 14/41–2 Kumar, Dr.  Shiv and Veena (1982–4) 14/43 Kunniersley, A. (1970) 14/44–5 Kurismmootl, Fr. Joseph (1976– 87)

14/46 Kyncly, Karel (1973–84) 15/1 Lacouture, Jean (1980) Lafaye, Claude (1980) Laffont, Robert (1964) Laforêt, Jaques (1970) Lafourcade (1971) Lagrange, Michel (undated) 15/2 Lagarde, Rene-Raphael (1960–3) 15/3 Laine, Christopher (1970) Lambert, Jack (1986) Lampras, John (1980) Landro, Jan (1987) Lang, Jack (1953–7) 15/4 Lalande, R. (1956) 15/5 Lancaster, Donald (1955) 15/6 Lancaster, Osbert (1957–62) 15/7 Landale, Russel (1980–90) 15/8 Lane, Roger (1988) 15/9 Lang, Nguyên Tiên (1953–7) 15/10–12 Lanina, Tanja (1957–90) 15/13 La Noë, Claude (1982) Larholt, James (1970) Larminat, Gerneral de (1962) Latkany, Robert (1987) Lawalta, Rose (1980) Lazlo, Kate (1981) 15/14 Latin America Bureau (1985– 91) 15/15 Lattre, General de (1951) 15/16–19 Laughton, Tom and Isobel (1973–85) 15/20 Laurin-Lam, Lou (1983–8) 15/21 Lawlor, Patrick (1975) 15/22 Lazarus, Ruth (1971–85) 15/23 Leahy, John (1976) 15/24–8 Lechat, Michel (1958–92) 15/29 Ledwige, Bernard (1969) Legg, Victor (1976–83) Legray, Jacques (1960) Leguebe, Jacques (1960) Lehman, Alastine (1989–90) 15/30 Lee, Harold (1964–89) 297

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15/31 Legrand, Colonel Julien (1954– 85) 15/32 Lehman, Rosamond (1945) 15/33 Leman, Gerard (1990) Lemmers, A. (1980) LePan, Don (1989) LeRoue, Renee (1985–9) Leroux, Yves (1970) Leontyev (1960) 15/34 Lenin Library (1962) 15/35 Lennon, J. J. (1983) 15/36 Leonhardt, Rudolf (1963–82) 16/1–8 LeRoux, Etienne (1967–90) 16/9 Leroy, Colonel Jean (1954–84) 16/10 Leslie, Peter (1969) 16/11 Lessing, Doris (1962) 16/12 Levchev, Lyubomir (1984–6) 16/13 Levin, Bernard (1960–88) 16/14 Lewin, David (1979–80) Lewis, Brian (1981) Lewis, Wyndham (1971) Lichterman, Vladimir (1986) Liederbach, Fr. (1968) Lilar, S. (1965) Lindlan, Dagobert (1984–7) Linklater, John (1989) 16/15 Lewis, Nigel (1980–2) 16/16 Lewis, Norman (1986–8) 16/17 Liberal Party Organisation (1962– 68) 16/18 Liberec Theatre (1969) 16/19 Liberia (1965–72) 16/20 Libris (1988–9) 16/21–24 Lindsay, Deacon Derek (1959– 88?) 16/25 Lindsay-Hogg, Michael (1984) Litzinger, Boyd (1985) Lloyd Bank Personnel (1989–90) Lord, Gabrielle (1981–90) Lord, Graham (1988) Louhija, Nina (1987) Loup, Guy (1959–60) 298

16/26 Livanov, Vasily (1989–90) 16/27 Lodge, David (1966–89) 16/28 Lorca, Paul (1973) 16/29–30 Lorch, Yoav (1981–5) 16/31 Losey, Joseph (1968–9) 16/32 Low, David (1980–6) Lozanda, Dr. Salvador (1982) Luba, Joanne (1984) Luddy, Tom (1985) Luetkemeyer, Mary (1988) Lund, Peter (1984) Lundy, Timothy (1992) Lyall, Joanna (1990) Lyons, John (1990) 16/33 Luongo, Fulvio (1984–6) 16/34 Lowry, Malcolm (1973) 16/35 Lustgarten, Edgar (1963) 16/36 Lyons, Islay de Courcy (1980–8) 16/37 Lytton, Noel, Earl of (1972) 17/1 MacArthur, John (1987–91) 17/2 Macbeth, Dr. Ronald (1974–8) 17/3 Machin, Julian (1990) Madelin, Hubert (1959) Mailer, Norman (1962) Malik (1959) Malloni, Nicholas (1989) Malraux, André (undated) Manoj Das (1987) Marc, Trivier (1989) Marcus, Stanley (1982) 17/4 Macleod, Joseph (1966–84) 17/5 Macpherson, Kenneth (1965–78) 17/6 MacShane, Frank (1983–91) 17/7 Magyar, Laszlo (1979) 17/8 Mallea, Eduardo (1970–6) 17/9 Mallin, Jay (1958–61) 17/10 Mancillas, Jorge (1987–9) 17/11 Manceron, Claude (1961–4) Mann, Monika (1981) Marszalek-Mlynczyk, Krystyna (1985) Martchenko (n.d.)

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Marone, Infanta Maria Cristina Condesa de (undated) 17/12 Marais, Christelle (1976) 17/13 Majoribanks, Sir James (1985–6) 17/14 Marnham, Patrick (1975–9) 17/15 Márquez, Gabriel García (1977– 90) 17/16 Marshak, Samuel (1958) 17/17 Marten, Neil (1956) 17/18 Martimer, Raymond (1948–60) 17/19 Martin, Carl (1988) Masip, Antonio (1989) Mason, Simon (1989) Massie, Gordon (1989) 17/20 Martin, Carol (1983–4) 17/21–23 Martindale, Fr. C. (1949–62) 17/24–5 Martinez, Professor José “Chuchu” de Jesus (1976–90) 17/26 Maruya, Saiichi (1986–7) 17/27 Massigli (1952) 17/28 Masters, Anthony (1986–8) 17/29 Mathellon, Vera (1983) Mathey, Barbara (1967) Maurois (1967) May, Lester (1990) Mayhew, Alice (1990) Mayoux, Jean-Jacques (1972) 17/30 Mathew, Archbishop David (1957– 90) 17/31 Mathew, Gervase (1956–76) 17/32–4 Matthews, Ronald (1957–70) 17/35 Mauriac, François (1951–70) 17/36 May, Evelyn (1955) 17/37 Mayhem, Robin (1966) 17/38 McAleer (1984) McClatchy, J. (1988) McClelland, Betsy (1990) McConnell (1978) McCormack, Donald (1984) 17/39 McCarthy, Audrey (1986–8) 17/40 McCoog, Fr. Thomas (1980–9) 17/41 McCormack, Jerusha (1990)

17/42 McCown, J., S. J. (1982) McCreal, Capt. Maurice (1984) McDougall, John (1984) 17/43–6 McDonnell, Joan and Vincent (1986–91) 17/47 McFadden, Fr. John (1987) McGilligan, Pat (1988) McKinlay, H. (1989) McMillan, Peter (1985) McNean, Kathleen (1984) McQueeney, Marie (1989) McTernan, Oliver (1988) 17/48 McFarlane, Brian (1989–90) 17/49 McGill, Mary (1987–8) 18/1 McGrath, Leueen (1957–61) 18/2 McKenna, James (1979–80) 18/3 McLachlan, Donald (1963) 18/4 Medalla, David Cortez de (1962) 18/5–6 Medcalf, Fr. John (1984–8) 18/7 Mendoza, Nicole (1958–63) 18/8 Mendoza, Roberto de (1957) 18/9 Mercer, Rev. Fr. Thomas (1982–3) 18/10 Mercure, Jean (1962–6) 18/11 Mertens, Dieter (1963) 18/12 Mertl, Pierre (1983–7) Merino, Olga (1990) Messer, Merle (1987–8) Michaud, J. (1983) Mills, Fr. John (1987) 18/13 Mesnet, Marie-Béatrice (1965–71) 18/14 Messer, Merle (1989) 18/15–18 Mewshaw, Michael (1971–91) 18/19–22 Meyer, Michael (1954–90) 18/23 Meyers, Jeffrey (1987–90) 18/24 Michaux, Pascal (1990) Michel, Richard (1987) Middleton, Norma (1986–7) Mihn, Tran Van (1955) Miller, O. (1989–90) Miller, Prof. R. (1989–90) Mitgang, Herbert (1986–8) 18/25 Milward, Fr. Peter (1986–9) 299

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18/26 Minarik, Pavel (1989) 18/27 Minney, R. (1958) 18/28 Miranda, Alvaro de (1965) 18/29 Miranda, Mario de (1964) 18/30 Mitterrand, François (1983–8) 18/31 Moller-Christensen, Professor Vilhelm (1962–85) 18/32 Montgomery, Col. Patrick (1983) 18/33 Moor, Anna-Katharina (1978–9) 18/34 Moore, Brian (1966–77) 18/35 Moore, Henry (1950–82) 18/36 Moore, Peter (1987–8) 18/37 Mooring, Dana (1977) 18/38 Moravec, General Frantisek (1973–4) 18/39 Moret, Andre (1954–61) 18/40 Mortimer, John (1980–5?) 18/41 Molt, Cynthia (1990) Moore, Steven (1989) Moret, Robert (1960) Morgan, Christabel (1989) Morgan, Cathy (1983) Morgan, Mary (1962) Mossman (1987) Mound, T. E. J. (1988) Moutet, Anne-Elizabeth (1987–90) 18/42 Mostowski, Jan (1981–2) 18/43 Mroczkowski, Przemysław (1963– 89) 18/44 Mrzenová, R. (1969) 18/45 Muggeridge, Malcolm (1942–87) 18/46 Muir, Frank (1987) 18/47 Mukherjee (1984) Murari, Timeri (1981–2) Murphy, Francis (1987) 18/48 Munzar, Dr. Jiří (1968) 18/49–54 Murek, Tadeusz (1965–88) 19/1 Nagy, Kázmér (1980) Naito, Mikku (undated) Namphy, Mrs. Joseph (1968) Napier, Oliver (1976) Nantes, British Consul (1954) 300

Nault, Marianne (1982) Naves, Liliane (1989) 19/2 Naipaul, V. S. (1968–78) 19/3–9 Narayan, R. K. (1935–91) 19/10 Neal, George (1989) Neanne, Christopher (undated) Neruda, Pablo (1971) Nettels, Curtis P. (1980) Nettleton, Ian (1990) New York Review of Books (1979– 88) Newlin, William (1986–91) Neykov (1987) 19/11 Nelson, Anne (1986–9) 19/12 Nelson, Shirley (1989) 19/13 Nesvabda, Dr. Josef (1969–74) 19/14 Neumann, Julyek (1990–6) 19/15–18 Newall, Maria (undated–1983) 19/19 Newby, P. Howard (1965–6) 19/20 Nguyên, Cung Giu (1954) 19/21 Nhu, Ngo Dinh (1955) 19/22 Niblock, H. (1963) Nicolas, Alexei (1968) Niemi, Irmeli (1991) Nityanandan, P. M. (1986–7) Niven, Sir Rex (1982) 19/23 Nicaragua Embassy (1984) 19/24 Nicaragua Solidarity Campaign (1984–91) 19/25 Nicol, Davidson (1967–88) 19/26 Nikiforov, Vladimir (1988) 19/27 Nilson, Fritz (1976) 19/28 Nissenson, Hugh (1977–86) 19/29 Nobel Peace Prize Committee (1980) 19/30 Noble, Barbara (1986) Noel, Maurice (1954) Nordling, Mr. and Mrs. Ingrid and Jan-Eric (1990) Norman, Daniel (1960) 19/31 Noriega, General Manuel Antonio (1984–8)

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19/32 Norris, Eric (1987–90) 19/33 Nunley, John (1986) 19/34 Nussbaum, B. (1967) 20/1 Oakes, Philip (1983–4) Oakes, Toby (1992) O’Brien, Terence (1987) Ocean, Humphrey (1989) 20/2 O’Brien, Connor Cruse (1976) 20/3 O’Brien, Edna (1968–70) 20/4 O’Brien, Flann (1961–78) 20/5–7 Ocampo, Victoria (1971–9) 20/8 O’Connell, Fr. Ed (1986) 20/9 O’Connor, Fr. Patrick (1955–6) 20/10 O’Connor, Philip (1990) Oderman, Stuart (1986) O’Grady, Timothy (1979) Oldsey, Bernard (1985) Orengo, Charles (1959) Oriental (1983) Orwell (1980) Osmañczyk, Enmund (1979) Owen, John (1989–90) 20/11 Oestreicher, Christine (1984–91) 20/12 O’Faolin, Sean (1976–8) 20/13 Ogilvie, Ian and Helen (1960–81) 20/14 Orki, Ben (1989) 20/15 Olson, Filip (1964) 20/16 Oreja, Marcelino (1985) 20/17 Ortega, Daniel (1989) 20/18 O’Shaughnessy, Hugh (1983–4) 20/19 Ossipov, Vladimir (1961) 20/20 Otero, Lisandro (1967–87) 21/1 Padre Pio (1974) 21/2 Page, Bruce (1968) 21/3 Paget, Rev. John (1980) Pang (1985) Pange, Compte de (1959–60) Parsons, Edmund (1987) Pasakarnis, Ernest (1988) 21/4 Palach Press Limited (1983–8) 21/5 Palach Prize, Jan (1982–8) 21/6 Palliser, Anthony (1980–90)

21/7 Palme, Susanne (1989) 21/8 Paraguay Committee for Human Rights (1979–90) 21/9 Paredes, General Ruben Dario (1982) 21/10 Parr, Laetitia (1968) 21/11 Parthasarathy, N. (1957) 21/12 Pascuet, Rafael (1983) 21/13 Pashoud, Jean-Felix (1976–88) 21/14 Pathfinder Press (1989) Patton, Kielan (1988) Paulson, Paul (1988) 21/15 Pavlovitch, Demidov (1987) 21/16 Peake, Maeve and Mervyn (1954–77) 21/17 Pearce, Thomas (1982–3) 21/18 Peet, David (1989) Pelletier-Sattley (1954) Pelton, James (1990) Perkins, David (1989) Peterkiewicz, Jerzy (1979) Peters, Edward (1989) 21/19–22 PEN Club (1966–87) 21/23 Petrie, Peter (1983–91) 21/24 Pettifar, Simon (1990) Pettigrew, Damien (1990) Petty, Alan (1988–9) 21/25 Peutin, Vladimir (1954) 21/26 Peyrefitte, Alain (1983–5) 21/27 Phelan, Michael (1986) Philippoteaux, François (1961) Phillips, Keith S. (1984) 21/28–30 Phelps, Gilbert (1961–80) 21/31–32 Philby, Kim (1963–94) 21/33 Philoppov, Rostislav (1989) 21/34 Phillips, Fr. Gene (1975–89) 22/1 Pianoff, Alexis (1987–8) Pierhal, Armand (1969) Pierre-Humbert, Henriette (1961) Pierre-Louis, Ulysse (1963) Pigden, Barbara (1991) Pujals, Prof. Esteban (1980–1) 301

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Piotrowska, Bozenna (1990) Pitkänen, Tommi (1981) 22/2–3 Pieraccini, Roland (1980–90) 22/4 Pierre-Charles, Gerard (1968–81) 22/5 Pilger, John (1989) 22/6 Pinto, Felisa (1982) 22/7 Piper, John (1959–62) 22/8 Plaud, Louise de (1983–8) 22/9 Plesch, Dan (1988) Plummer, Simon (1988) Poetry Book Society (1987) Polcari, Diana E. (1967) 22/10 Polak, Hans (1979–80) 22/11 Polk, William (1987–8) 22/12 Pollinger, Gerald (1981–6) 22/13 Pollinger, Murray (1963–4) 22/14 Pollio (1988) Polwarth, Lady Jean (1978) Pope-Hennessy, James (1973) Potterton, Reg (1989) Powell, Anthony (1986) Powell, Dilys (1989) Powell, Schwyn (1985–6) 22/15 Pomeroy, William J. (1963–9) 22/16 Pope Paul VI (1963–8) 22/17 Porter, R.(1973–4) 22/18 Posner, David (1981) 22/19 Power, Lorna (1989) 22/20 Power, Mary (1969–70) 22/21 Prasad, Sharada (1988) 22/22 Preminger, Otto (1976) Prentice (1987) Présence Africaine (1961) Priestman, John (1988) Privat, Bernard (1965) Proust, Marcel (1963) Przemystaw (1988) 22/23 Price, Prime Minister George (1978–91) 22/24 Price, Stanley (1959–60) 22/25–30 Pritchett, Mary (1962–82) 22/31 Pritchett, Victor (1946–81) 302

22/32 Prokhorva, Svetlana (undated) 22/33 Publishing (General) (1961–90) 22/34 Pujals, Esteban (1981–2) 22/35 Pugh, David (1985) Pulsifer, Gary (1984) Pym, Roland (1976) 22/36 Pye, Fr. Geoffrey (1985) 22/37 Pyle, Hilary (1967) 22/38 Quantrill, Bill (1969) 22/39 Quarto (1980) 22/40 Quayle, Anthony (1977) Queant, Olivier (1954) Quinn, Rev. Edward (1965) 22/41 Quayle, Eric (1973–89) 22/42 Querrel, Peter (1960–86) 22/43 Quinn, Margaret (1984) 23/1 Radcliffe, Timothy (1989) Rainbird Publishing Group (1980) Rainey, George (1977) Raissac, Pierre (1960) Raspail, Jean (1980) Rathbone, Julyian (1989) 23/2 Radell, Karen (1981–9) 23/3–5 Radovic, Ljerka (1978–91) 23/6 Ragiot, Philippe (1973) 23/7 Rankin, Nicholas (1985–7) 23/8 Ratti, Jean (1972) 23/9 Rattigan, Terence (1966–79) 23/10 Ratto, Dr. Luciano (1983) Ratzka, Adolf (1980) Rawding, Frederick (1981) Rayfield, Dr. Donald (1989) 23/11 Ray, Ellen (1990) 23/12 Read, Herbert and Lady Ludo (1973–82) 23/13–14 Read, Piers Paul (1969–87) 23/15 Reasin, John Russell and Puréa (1960–1) 23/16 Récolle, Pacalle (1983) 23/17 Redgrave, Michael (1957–61) 23/18 Redgrave, Vanessa (1988–9) 23/19 Reenpää, Erkki (1971)

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Reutersward, Carl (1984) Rey, Jean (1964) Reynolds, Jerry (1983) 23/20 Reed, Carol (1973–6) 23/21 Reed, Henry (1947–8) 23/22 Rees, Merlyn (1976) 23/23 Rees-Mogg, William (1970) 23/24 Rentschler, James (1984–5) 23/25 Ress, Paul (1969–76) 23/26 Reynolds, Sydney (1977–89) 23/27 R?, Charles (1985) Richardson, Colleen (1987) Richardson, Joanna (1981) Richardson, W. (1977) Richards, Laura (1986) Riveros-Schafer, Enrique (1981) 23/28 Rickards, Jocelyn (1955–90)  – see also 6/38 23/29 Richardson, Maurice (1967) 23/30 Richardson, Ralph (1960–3) 23/31 Richey, Michael (1979–91) 23/32 Richmond, Bruce (1961) 23/33 Richmond, Zoë (1961–86) 23/34 Ridenour, Ron (1987–8) 23/35 Rinsler, Prof. Norma (1986) 23/36 Ripley, Rev. Francis (1954) 23/37–41 Róbert, László (1974–91) 24/1 Roberts, Cecil (1960–73) 24/2 Roberts, David (1981–8) 24/3 Roberts, Yvonne (1972) Robins, Christopher (1987) Robins, Denise (1979–89) Robinson, Andrew (1989–90) Rocca, Tony (1987) Roeder, Anke (1970) 24/4 Rocha, Luis (1983) 24/5 Rodrigues, Eusebio (1963–89) 24/6 Rogers, William (1985–9) 24/7–9 Rogow, Arnold (1987–91) 24/10 Rollitts, Sarah (1981) Rolph, C. (1987) Rosenthal, Jean (1962)

Ross, Alan (1980) Rost, Hilary (1989) Roy, Francis-Joachim (1966) Roy, Julyes (1963) Rozynes, Murray (1984–5) 24/11 Rolph, John (1959) 24/12 Rood, Fr. N. (1959) 24/13–16 ROSAIO, Villa (1948–90) 24/17 Rosanoff, Feorges (1974–7) 24/18 Rossman, Esther (1960) 24/19 Rota, Bertram (1957–63) 24/20 Rougemont, Denis de (1965) 24/21 Royo, President Aristides (1979– 81) 24/22 Rubens, Robert (1980–90) 24/23 Rules (1987) Rusbridger, Alan (1989) Russel, Leonard (1964) Russo, George (1989) 24/24 Rundle, Jeine (1964–7) 24/25 Ryan, Allan F. (1986) Ryan, Fr. Pablo (1988) Ryan, Tony (1989–90) Rycroft, John (1979) 25/1 Sabov, Alexandre (1983–4) 25/2 Sackey, V. (1988) Sahagian, Paul (1984) Salinas, Maria (1985) Salivarova, Zdena (1987) 25/3 Sahgal, Nayantara (1974) 25/4 Sainte Pierre, Michel de (1959–63) 25/5 Salan, General (1952) 25/6 Salter, Elizabeth (1965–76) 25/7 Salter, James (1975?–82) 25/8 Salvatore, Anne (1984–9) 25/9 Salyk, Ivan (1970–1) 25/10–11 Samarakis, Antonis (1968–79) 25/12 Samson, Richard (1990) Samson, William (1957) Samuel, Alison (1990) Sandamitas, Rogelio (1979) Sanderson, T. (1958) 303

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Santamarina, Sergio (1959) Sarda, Francois (1984) Sarramea, Jean (1988–9) 25/13 Sander, Allegra (1979–84) 25/14 Sankey, Veronica (1989–91) 25/15 Saul, John Ralston (1988) Saunders, Barry (1990) Saunders, Matt (1986) Sawyer, Roger (1989) 25/16 Schaffenburg, Dr. Carlos (1989) Scheetz, Nicholas B. (1990) Scherer, Th. (1967) Schwarz, Leonard (1970) Scott-Plummer (1987) Scott, James (1993) Scugnizzo, Casa dello (1961) 25/17 Scharansky, Avital (1980–1) 25/18 Schoder, Rev. Prof. Raymond (1983) 25/19 School 46 Moscow (1972–4) 25/20 Scofield, Paul (1961–undated) 25/21 Scorell, R. (1959) 25/22 Scottish Campaign for the Homeless (1969) 25/23 Scull, C. (1976) 25/24 Sebba, Anne (1985) Seed, Fr. Michael (1990) Segal, Ronald (1988) Semenov, Julyian (1989) Sepp, Antoine (1976) Servadio (1977) Seyersted, Brita (1987) 25/25 Seberg, Jean (1956) 25/26 Séjourné, Philippe (1984–7) 25/27 Selznick, Irene (1975–83) 25/28 Sénac, Mazcel (1959–60) 25/29 Shahar, David (1985) Shannon, Lyle (1987–8) Shaw, Clem (1990) 25/30 Shakespeare, Nicholas (1985–8) 25/31–2 Sharrock, Roger (1978–90) 25/33 Shawcross, William (1985–7) 304

25/34 Sheaffer, Louis (1979) 25/35 Shearar, Jeremy (1980–1) 25/36 Sheehy, Terence (1986) 25/37 Sheehan, Edward (1988–9) Sheldon, Fr. Frederick (1987) Sheridan (1984) Sherratt, David (1990) 25/38 Sheppard, Clare (1979–83) 25/39 Shields, Karena (1962) 25/40 Sichov, Vladimir (1981) 25/41 Sikorski, Radek (1984) Silcox (1970) Silvagni, Guilio (1962) Silver, Jo-Anna (1988) Sinclair, Sonia (1987) Skelt (1967) 25/42 Sillitoe, Alan (1972) 25/43 Siming, Chen (1982) 25/44 Simmons, James (1976–8) 25/45 Simon, Jeanne-Marie (1989–90) 25/46 Simonin, Rene (1969) 25/47 Simonnet, Christian (1952–83) 25/48 Sims, George (1981–90) 25/49 Sissons, Michael (1980) 25/50 Sitwell, Edith (1958–78) 25/51 Sjowall, Fru (1976) 26/1 Skalnik, Kurt (1981–2) 26/2–12 Skvorecky, Josef (1966–90) 26/13 Skorzewska, Katherine (1984) Skorzewski, Daniel (1983) 26/14 Slabotzky, Tina (1991) Sligo, Lord and Lady (1991) 26/15 Slavov, Atanas (1978–83) 26/16 Sloan, Pat (1960) 26/17 Smith, Peter (1960) 26/18 Smith, Edward John (1991) Smith, Elizabeth (1985) Smith, Grahame (1983–5) Smith, Senator Larry (1988) Snowden, Lord Tony (1988) Sofinsky (1968) Soldatov (1963)

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26/19 Soblen, Dr. Dinah (1962) 26/20–23 Soldati, Mario (1961–89) 26/24–9 Solomon, Petre (1976–93) 26/30 Sorel, Edith (1966–83) 26/31 Soviet Writers Union (1967–85) 27/1 Spark, Muriel (1982–91) 27/2 Speaight, Robert (1957–76) 27/3 Spector, R. (1970) Spence, Erica (1987) Spence, Professor (1978) Spencer, Sir Kelvin (1988) 27/4 Spencer, Colin (1965–71) 27/5 Spender, Stephen (1949–89) 27/6 Spurling, Hilary (1983) 27/7 St. Albans, Duchess Suzanne (1981– 3) 27/8 Stang, Sondra J. (1978–84) Steber, Maggie (1990) Stewart, Sister Declair (1987) Steinfels, Peter (1987) 27/9 Stannard, Martin (1977–93) 27/10 Stark, Koo (1986–7) 27/11 Stassinopoulos, Arianna (1978) 27/12 Stavtskaya, Aza (1988–9) 27/13–15 Steegmuller, Francis and Hazzard, Shirley (1971–90) 27/16 Stephens, Robert (1982) 27/17 Stern, Karl (1965–75) 27/18 Stevas, Norman St. John (1964) Stewart, Dr. R. (1980) Stiebel, C. (1977) Stokowski, Leopold (1969) Stoner, George (1977–83) 27/19–24 Stevenson, Robert Louis (1947–90) 27/25 St. John, John (1984–7) Stoneback, H. (1988) Strausfeld, Dr. Michi (1987) Strickland, Margot (1984) Stubs, Martin (1972) 27/26 Stonor, Julia (1987–8) 27/27 Stoppard, Tom (1979–80)

27/28 Strachwitz, Barbara (1945–91) 27/29–33 Stratford, Professor Phillip (1960–90) 27/34 Strømme, Sigmund (1978) 27/35 Sullivan, Fr. John (1983–90) 27/36 Sulzberger, C. (1955) 27/37 Summers, Anthony (1990) Surkov, Alexei (1959) Sutro, Mrs. John (1985–9) 27/38–9 Sutro, John (1955–73) 27/40 Svanström, Ragnar (1977–88) 27/41 Svarstad, Christianne Undset (1982) 27/42 Swales, Dr. J. (1980) 27/43 Sykes, Christopher (1967–75) 27/44 Sylvain, Edmond (1966–7) 27/45 Szász, Imre and Anna (1975–7) 28/1 Tablet (1983–8) 28/2–3 Tacopoulos, Paris (1977–92) 28/4 Tacou, Laurence (1990–1) 28/5–6 Talbot, R. (1977–87) 28/7 Tamayo, Luis (1984) 28/8 Tan, Pamela (1989) 28/9 Tarr, Michael (1985) 28/10 Tarsis, Valeriy (1965) 28/11 Tate, Allen (1947) 28/12 Taubes, Jacob (1968) Taupin, Bernie (1988) Taylor, Judy (1986) Terry, Ellen (undated) Tingay, Paul (1984–8) Ticknor, Martin (1989) 28/13 Taylor, Alan J. P. (1955–77) 28/14 Temple-Black, Shirley (1988–90) 28/15–16 Theroux, Paul (1971–90) 28/17 Thackeray (1963) Thatcher, Margaret (1985) Thébault, Fr. (1958) Thiriet, Jean-Claude (1987) Thomas, Dylan (1945) Thomas, Jane (1990) Thomas, Gordon (1988) 305

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Thomas, Wynn (1988) Thomson, Ian (1988–90) Thorne, Charles (undated) Tihn, Vo Thu (1956) 28/18 Thom, Tommy (1970–5) 28/19 Thomas, Edward and Helen (1969) 28/20 Thorburn, S. Elizabeth (1953) 28/21 Thorndike, Dame Sybil (1956–61) 28/22 Tigner, Brooks (1985–6) 28/23 Tinker, Mercia (1977–9) 28/24 Todorovich, Kitty (1984–8) 28/25 Toepfer, Alfred (1974) Toer, Rafael Mario (1981) Tolkien, Christopher (1980) Tolstoy, Count Nikolai (1990) Tomalin, Nicholas (1971) Toporowski, W. (1983–90) Torio, Marisa di (1984) Touvet, Mgr. Raymond (1954) 28/26 Topolski, Felix and Teresa (1958– 88) 28/27 Topping, Fr. Bertrand (1955) 28/28 Torrijos, Omar (1977–89) 28/29 Tournhout, Ted van (1981–3) 28/30 Tracy, Honor (undated) Trethewey, Max (1987) Trofimenko, Henry (1963) Truffaut, François (1973) 28/31 Traynor, Shaun (1975) 28/32 Trevor, William (1983) 28/33 Trombley, Stephen (1980) 28/34 Troup, Freda (1963) 28/35 Turkatenko, N. (1969) 28/36 Tutin, Dorothy (1958–61) 28/37 Twynam, Marian (1979–80) 28/38 Txintxurreta, Lourdes (1990–1) 28/39 Tynan, Kenneth (1967–9) 29/1 Uehara, Tsuyako (1989) Union de Escritores y Artistas de Cuba (1963) Updike, John (no date) 306

29/2 Umezawa, Nobuko (1990–3) 29/3 UNESCO (1973–85) 29/4 Ungvári, Prof. Tamás (1980–5) 29/5 United States Freedom of Information Act (1981–8) 29/6 Urnov, Dmitry (1986) 29/7 Ustinov, Peter (1967–71) 29/8 Vacca, Raffaele (1979–82) 29/9 Valentin, Fr. Philip (1945–9) 29/10 Valentine, Pauline (1987) 29/11 Valquist, Gunel (1983) Vanunu, Mordechai (1987) Vat, Dan van der (1984) Vaughan, Simon (1984) Velde, Paul (1966) Verband Deutscher (1962) 29/12 Van, Paul (1954) 29/13 Vaň, Trǻń Vaň (1955) 29/14 Van Dalm, Dr. R. (1990) 29/15 Van Houts, Tine (1979–80) 29/16 Van Parÿs, Ief (1988–9) 29/17 Van der Post, Laurens (1955–69) 29/18 Vargo, Edward (1985–6) 29/19 Velarde, Fabian (1976) 29/20 Venus, Ian (1981–4) 29/21 Verrier, Anthony (1980–6) 29/22 Verschoyle, Derek (1959) 29/23 Verrier-Skutt, Anne (1985) Vice (1987) Vidal, Guy (1983) Vietch (1979) Viken, Tohild (1990) Vilnorin, Genevieve de (1979) 29/24 Verwilghen, Felix (1968) 29/25 Vilensky, Mark (1986–91) 29/26 Viola, Andre (1976) 29/27 Violet, Bernard (1988) Vismes, Margueron de (1954) Visser, Bob (1985) Volkov (1979) 29/28 Vizinczey, Stephen (1973–85) 29/29 Vogel, Mckay (1958)

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29/30 Vonnegut, Kurt (1964) 29/31 Vủỏng, Ha van (1963) 30/1 Wade, James (1985–6) 30/2 Waddington, Patrick (1984) Wagner, G. (1990) Walberry Productions (1989) Walker, Edward (1984) Walkey, Major Gen. J. (1985) 30/3 Walker, Ronald (1976) 30/4 Wall, Barbara (1978–9) 30/5 Wallace, Edgar (1964) 30/6 Walling, Rev. Gerald (1980–90) 30/7 Walmsley, Robert (1969) 30/8 Walters (1987) Walter, Scott (1989) Wandrup, Fredrik (1985) Ward, Andrea (1989) Ward, Elizabeth (1978) 30/9 Walston, Catherine (1975–8) 30/10 Walston, Harry (1978–90) 30/11 Walston, James (1988–91) 30/12 Walston, Oliver (1980–93) 30/13 Walton, Tina (1984) 30/14 Wapshott, Nicholas (1987–90) 30/15 Warner, Rex (1955–85) Warren, Frank (1990) Warnow, Catherine (1984) Waterfield, Robin (1983) Watkins, Alan (1990) Watson, Francis (1983) Waugh, Teresa (1985) 30/16–18 Waugh, Auberon (1960–89) 30/19–20 Waugh, Evelyn (1966–81) 30/21 Wearne, Phillip (1989) 30/22 Weatherby, William (1989–91) 30/23 Webb, Elizabeth (1968) 30/24 Webb, Margaret (1983) Weber, H. (1973) Weber, Richard (1982) Weiner, Debra (1989) Weinstock, Eugene (1984) Weir, Andrew (1990)

30/25 Weici, Fu (1980–7) 30/26 Wei-Yang Dai, David (1987) Wells, John (1980) 30/27 Wensinger, Prof. Arthur (1991–2) 30/28 Wesker, Arnold (1964–72) 30/29 West, Anthony (1972–84) 30/30 West, Nigel (1982–3) 30/31 West, Richard (1970–1) 30/32 Whaley, Peter (1984–7) 30/33 Wheaton, Fr. Geoff (1984–9) 30/34 Wheeler, Prof. Douglas (1982) Wheldon, David (1983) Whitehead, John (1989) 30/35 Whicker, Alan (1981–2) 30/36 Whistler, Laurence (1948–84) 30/37 White, Antonia (1966–88) 30/38 White, Patricia (1986–9) 30/39 Wikander, Tuula (1986) Wijkmark, C. (1988) Wilentz, Amy (1989) Williams, Norman (1987) Wilson, Andrew (1982) 30/40 Wilcox, Jason (1982–3) 30/41 Wilden, Theodore (1982–3) 31/1 Wildman, Lucy (1989–90) 31/2 Willes, Peter (1969) 31/3–4 Williams, Trevor (1968–90) 31/5 Wilski, Andrew (1982–91) 31/6 Wilson, Angus (1969–84) 31/7 Wilson, Colin (1959–61) 31/8 Wilson, Msgr. H. (1983–8) 31/9 Wilson, James (1981–6) 31/10–17 Wilson, Trevor (1951–84) 31/18 Windham, Donald (1981–8) 31/19 Winkelstein, Dr. (1952) 31/20 Winn, Godfrey (1966) 31/21 Winterbottom, Derek (1977–88) 31/22 Winterniz, Helen (1990–1) Wismer, Catherin (1983) Wollmarker, Adolf (1984) Wong, Mary Gilligan (1983) Wonnacott, Richard (1988) 307

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Wood, George (1979) Woodruff, Mia (1985) Woodner, Beverly (1976) 31/23 Wong, Tracy (1987–8) 31/24 Wood, Harriet (1987) 31/25 Woodward, Kenneth (1990) 31/26 Woodward, Wyndham (1984) Woolf, Cecil (1982) Working Group World Union (1968) Wright-Taylor, Elizabeth (1985) Wright, Derrick (1989) Wright, James (1988) Wright, Susan (1984) Wyndham-Lewis, D. (1948) 31/27 Wrede, Casper (1972–88) 31/28–31 Wright, Ralph (1962–91) 31/32 Wright, Fr. Tennant (1978–90) 31/33 Wrobel, Simone (1984) 31/34 Wütschke, Johannes (1963) 31/35 Wyatt, Woodrow (1971–86) 31/36 Wynants, Fr. Pierre (1959) 32/1 Yakouchkine, Dimitri (1988) 32/2 Yasnaya Polyana (1970) 32/3 Ybarra, Anthony (1988) York, Pat (1989) Yorkshire Television (1969) 32/4 Yamagata, Kazumi (1984–5) 32/5 Yeatman, Robert (1964) 32/6 Yen, J. (1979–81) 32/7 Yeowart, Geoffrey (1988–9) 32/8 Yevtushenko, Yevgeny (1976–81) 32/9 Yleisradio (1971–2) 32/10 Young, Gavin (1990) 32/11 Young, Ian (1974–80) 32/12 Young, Jeffrey (1989) Young, John (1982) Young, Michael (1987) Young, Roderick (1988) 32/13 Zaitsev, Leonid (1960–1) 32/14 Zapata, René (1984–6) 32/15 Zazzali, James (1990) Zetterling, Mai (1960) 308

Zentai, Éva (1988) Zwisohn, Jane (1982–3) 32/16 Zervas, Hélèn (1988) 32/17 Zimberoff, Tom (1985) 32/18 Zimmerman, Dr. Hans (1970–2) 32/19 Zweig, Arnold (1963) 32/20 Isolated and Unidentifiable Correspondence 32/21 ‘Odd’ Letters (1973–87) Sub-series B: Family 33/1 Bourget, Lucy Caroline (1956) 33/2 Dennys, Amanda (1959–78) 33/3 Dennys, Elisabeth (1959–76) 33/4 Dennys, Louise (1959–78) 33/5 Dennys, Nick (1980–90) 33/6 Dennys, Rodney (1961–70) 33/7 Greene, Ave ‘Tooter’ (1983–4) 33/8–15 Greene, Francis (1948–85) 33/16–27 Greene, Hugh (1947–87) 34/1–3 Greene, James (1977–91) 34/4 Greene, Marion Raymond (1951–8) 34/5 Greene, Raymond (1964–72) 34/6–7 Greene, Vivien (1946? and 1979) Sub-series C: Fan Mail 35/1–11 Fan Mail (1964–91)

Series II: Literary Works Sub-series A: Novels, Plays, Films and Collected Essays 36/1 Angry Old Man Series (1983): correspondence; Greene turned down the offer to participate in this project. 36/2–6 Brighton Rock (1943–93) Considerable correspondence from and to the director, censor and the press relating to the development of and reaction to the 1947 film, and to agents, writers and directors relating to possible musical versions in the 1960s. Correspondence relating to overseas editions of the novel,

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play productions from 1953 to 1984; 1943 play programme, film, play and 1963 opera reviews and clippings; contracts and agreements. 36/7–10 A Burnt-Out Case (1958–91) Considerable correspondence, overwhelmingly from 1958 to 1962, to Michel Lechat and others relating to Greene’s visit to the Congo, and later reaction to the novel. Correspondence relating to a Russian translation. Press cuttings and reviews, and material Greene collected in researching leprosy. 36/11–15, 37/1–10 The Captain and the Enemy (1978–89) Uncorrected proof manuscript, final draft, photocopy of typescript, author’s proofs and revised proofs, all undated but presumably from 1988  – some with considerable authorial revision. Correspondence from 1987 to 1988 from and to publisher and agent relating to corrections, contracts, translations, serialization and reactions to the novel; 1978 dictated section of the ‘Apologia’. 1988–9 correspondence relating to film rights. Review clippings, promotional material, a contract. 37/11–12, 38/1–2 Carving a Statue (1963–81) Considerable correspondence from and to relevant agents, actors, directors and producers; press cuttings, programmes, box office records and photographs relating to 1964 production. Post-1964 correspondence relating to 1968 US production and other abandoned productions. 38/3–38/6 Collected Edition (1963– 82) Considerable correspondence from readers; an exchange of letters with Trevor

Wilson, 1963, and a letter from Barbara Greene, Countess Strachwitz, 1977. Corrections, copies of introductions, two 1970 typescripts of introductions; material concerning rights. 38/7–9 Collected Essays (1968–9): correspondence, proof copy corrections, publicity material. 38/10–15 The Comedians (1964–82) Extensive correspondence on the novel, reviews and press cuttings, corrections, typed notes and a contract. Details of a Hungarian stage version. Correspondence on the 1967 film. 38/16, 39/1–8 The Complaisant Lover (1958–91) Considerable correspondence from and to relevant agents, actors, directors and producers; press cuttings, programmes and photographs relating to the 1959 production. Post-1959 correspondence principally concerns French translation and proposed film and television adaptations. 39/9 The Confidential Agent (1972–7): letters on a 1972 Czech television production and a 1977 Russian translation. 39/10–13 Doctor Fischer of Geneva (1979–90) Extensive correspondence on the novel, including corrections, serialization, translation and jacket design. Considerable correspondence with producers, writers and actors about the television film version. Reviews, agreements and sales details. 40/1–1a The End of the Affair (1965– 82) Some readers’ letters and a Greene reply. Details of European television and radio adaptations. 309

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40/2–4 England Made Me (1958–86) Correspondence relating to film versions  – a proposed one in 1959–61, and the one released in 1983; reviews of the film, and an undated 13-page film treatment. 40/5 Essais Catholiques (1971–3): correspondence relating to a proposal to reprint his 1953 volume of essays. 40/6–8 For Whom the Bell Chimes and Yes and No (1978–83) Correspondence prior to 1980 production from and to theatrical agent and prospective producers; exchanges about text changes, contractual and production rights; correspondence about publication; publicity material and programmes. 40/9 A Gun for Sale (1963–70): correspondence relating to the quality of translations of the novel. 40/10–11 ‘Harz Mountain Story’ (1950–7) Quite extensive correspondence by Greene and others about the origin and development of the story, discussions over payment and material Greene used in his research. 40/12–14 The Heart of the Matter (1947–83) Correspondence from and to the general public giving reactions to the novel. Book of relevant press cuttings. Correspondence regarding the 1953 film with a variety of interested parties. Correspondence about proposed television adaptations. 40/15–21, 41/1–14 The Honorary Consul (1971–83) Very considerable correspondence concerning the novel and to a succession of film adaptation projects. Correspondence and other materials relating to book dust 310

jacket, galley proofs, contracts, foreign edition rights, book club editions and royalty payments. Newspaper cuttings with critical reviews. 41/15–16 A House of Reputation (1986) Two typescripts of the play, one dated 1986. Second typescript with major authorial revisions, undated. 42/1–19 The Human Factor (1978– 90) Considerable volume of correspondence from and to Greene principally related to the novel and proposals for film adaptation. Includes foreign publication rights and translations, limited editions and serializations. Other material includes dust jacket designs, cover blurbs, advertising and press cuttings; exchange of views with the South African novelist Mary Renault following publication; appreciation of book by Greene’s friend Father Durán. Files appertaining to film adaptation concern prospective screenplays, film rights and directors. 42/20 It’s a Battlefield (1973–9): correspondence relating to foreign publication rights. 42/21 Jim Braddon and the War Criminal (1950) Correspondence relating to Greene’s contractual obligations to US film companies. Typescript of film treatments for Jim Braddon and the War Criminal and Nobody to Blame. 42/22–24, 43/1–27 The Living Room (1952–90) Very considerable correspondence relating to the play and abortive attempts to produce film and television adaptations. First 12 files in series relate to first stage

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production in 1953 including discussions about subject matter and aspects of censorship and reactions to production. Correspondence concerns unsuccessful US stage production and details of various proposals for revivals. Eleven files of correspondence about attempts made to film the play. Two files of press cuttings and box office receipts for the 1953 stage production. 44/1–6 Loser Takes All (1954–92) Extensive correspondence from and to Greene about the development of the 1956 film; detailed notes on the film script; agreements and finance details. One file of correspondence from 1969 to 1992 about the development and nontheatrical release of the 1990 film. 44/7–8 The Man Within (1944–85): correspondence about royalties, agents, film and television rights. 44/9–11 ‘May We Borrow Your Husband?’ (1965–81): correspondence relating to protracted discussions over film rights to the story. 44/12 The Ministry of Fear (1963–6): correspondence about various Czech versions. 44/13–29 Monsignor Quixote (1979– 86) Correspondence concerning the Sylvester and Orphanos limited edition of first chapter. Very considerable correspondence relating to the development of the novel and reaction to it; contracts, serialization, film rights. Correspondence relating to the development of the 1985 television film. Very considerable press reviews and clippings; Father Durán’s long analysis of the novel. Letters on a 1988 stage adaptation. 45/1–10, /21 Our Man in Havana (1958–86)

Correspondence about the development of the novel; corrections, and issues of royalties, rights serialization and publicity. Considerable correspondence about the film version. Correspondence about the opera version (1961–3). Correspondence about a musical version (1977–86), television and broadcast rights. Press clippings, many on the opera. 45/12 The Portable Graham Greene (1970–3): a few letters concerning collection of material for the book. 45/13–14 The Pleasure-Dome (1970–3) Considerable correspondence particularly between Greene and John Russell Taylor; Judith Adamson’s review of the book. 45/11, /15–17 The Potting Shed (1955–87) Correspondence from and to agents, producers and directors concerning 1957 US and 1958 London productions. Matters discussed include casting, selection of directors and text changes. Relevant newspaper cuttings and correspondence with general public on controversial aspects of the play. 45/18–20, 46/1–2 The Power and the Glory (1952–89) Readers’ letters from 1969 to 1989 in response to the novel. Correspondence concerning the Holy Office in Rome’s denunciation (1953–4). Extensive correspondence concerning the development of the 1956 stage play; programmes and press cuttings. Details of the 1960 CBS television version. 46/3 A Quick Look Behind: Footnotes to an Autobiography (1981– 4): correspondence with publisher. 311

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46/4–10 The Quiet American (1955– 90) Considerable correspondence mainly concerning various editions, and adaptations of the novel; there are some letters about its completion and dedication, and corrections. Correspondence on the 1958 film version includes film rights and some viewers’ (and Greene’s) reactions. Correspondence on an unrealized 1988 film version. Some press cuttings. 46/11 Reflections (1990): typescripts of introduction. 46/12, 46/13 ‘Remembering’ Series (1974–7) Considerable material relating to proposed books of autobiography or reportage, ‘Remembering’, ‘The Troubled Places’ and one untitled. Typescripts of essays published in the Daily Telegraph, and later in Ways of Escape. 46/14–20 The Return of A. J. Raffles (1974–84) Correspondence and other materials relating to Greene’s reasons for writing play, discussions about suitable production venue and casting. Discussions about possible Broadway production, revivals and film adaptation. Complete typescript, press cuttings, programmes, text change discussions and details. 46/21 Selected Works (1966– 85): correspondence relating to a Czechoslovakian edition. 47/1, 47/2 ‘A Shocking Accident’ (1981–4): correspondence and other materials relating to a film of the story. 47/3 Stamboul Train (1964–73): a few items relating to the novel and television. 47/4–6 The Stranger’s Hand (1949– 94) 312

Considerable correspondence (almost wholly 1949–54) on the development of the story for the film; typescript of the unfinished story, synopsis of the rest, pages of further script ideas. A letter gives Greene’s reaction to the finished film. 47/7, 47/8 The Tenth Man (1944–88) Typescript (1944); letters to and from Greene concerning a typescript (1966). Considerable correspondence (1983–5) about the discovery of a typescript, and the developments leading to its publication. Material relating to rights, serialization and a possible film version. 48/1–4 The Third Man (1948–77) Considerable correspondence, much from 1948 to 1950, concerning the development of the novel and film. Material relating to serialization. Typescripts of Greene’s preface to this and to The Fallen Idol. 48/5–11 Travels with My Aunt (1968– 92) Considerable correspondence (1968– 9) from and to Greene concerning the exact details of publication. Considerable correspondence (1969–80) of readers’ responses to the novel. Extensive correspondence (1970–91) concerning various proposed play versions. Considerable correspondence about the 1972 film, and reactions to it. Very extensive press cuttings and reviews. Sub-series B: Short Stories 49/1 The Abandoned (1979): typescript on The Name of Action and Rumour at Nightfall for Ways of Escape. 49/2 ‘Awful When You Think of It’ (c.1979): typescript, with amendments. 49/3 ‘Beauty’ (1963): copy published in the Spectator.

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49/4 ‘The Blessing’/‘La Bénédiction’ (1966–71): published copies in the New Statesman and Le Monde. 49/5 ‘A Branch of the Service’ (1989): manuscript with corrections and deletions, with some dates; envelope with details of draft stages. 49/6 ‘Chagrin in Three Parts’ (1966): published copy in the Weekend Telegraph. 49/7  ‘Cheap in August’ (1988): published copy in the Woman’s Journal. 49/8 ‘Church Militant’ (1956–74): published copies in the Commonweal (US, 1956), the Daily Telegraph Magazine (UK, 1972) and The Critic (US, 1974). 49/9–10 Collected Stories (1974–9): letters, details of European editions, review cuttings. 49/11 ‘A Constant Question Mark’ (1987): three typescripts, two with minor corrections and alterations, of the essay. 49/12 ‘Deux Coeur Sensibles’ (1967): published copy of ‘Two Gentle People’ translated into French by Marcelle Sibon for Le Figaro Littéraire. 49/13 ‘Her Uncle Versus His Father’ (1973): published copy in Esquire; also published as ‘When Greek Meets Greek’. 49/14 The Last Word and Other Stories (1990): typescript of preface with authorial corrections; typescript of book with minor corrections by Elisabeth Dennys. 49/15 ‘The Last Word’ (1988): two copies of the published story; manuscript of preface; short manuscript description of folder contents not in author’s hand. 49/16 ‘Magic’ (1922): published copy in the Weekly Westminster Gazette.

49/17–24 May We Borrow Your Husband? and Other Comedies of the Sexual Life (1967–91): corrected proof copy; list of corrections; correspondence. 49/25 ‘The Moment of Truth’ (1988): published copy in the Independent Magazine. 49/26 ‘Mortmain’ (1963): published copy in the New Statesman. 49/27 ‘Murder for the Wrong Reason’ (1929): published copy in Graphic. 49/28 ‘An Old Man’s Memory’ (undated): typescript with authorial corrections. 49/29 ‘On the Way Back: A Work Not in Progress’ (1981): typescript with authorial corrections. 49/30 ‘Out of the Dustbin’ (undated): uncorrected typescript consisting of three fragments of writings which author described as abandoned openings to either novels or short stories. 49/31 ‘The Root of All Evil’ (1964): published copies in the New Statesman and Saturday Evening Post. 49/32–34 A Sense of Reality (1963– 81) Letters from 1962 to 1963 concerning proposed short story anthologies; readers’ letters; letters concerning rights; contracts. Very extensive review cuttings. 49/35 ‘The Trial of Pan’ (1923): published copy in Oxford Outlook. 49/36 Twenty-One Stories (1965–70): letters from Europe showing interest in individual stories. 49/37 ‘Two Gentle People’ (1967): published copy in the Weekend Telegraph. 313

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49/38 ‘Work Not in Progress’/‘My Girl in Gaiters’ (1955): published copy in Punch. Sub-series C: Children’s Books 50/1–2 General Correspondence (1971–80): letters concerning new editions and rights. 50/3 Correspondence regarding Dorothy Glover (1971–2): letters following Glover’s death in 1971, including issues of rights. 50/4 Correspondence: French Publication (1961–74) 50/5 Correspondence: German Publication (1975) 50/6–7 The Little Steamroller and The Little Horse Bus (1973–8): letters concerning blurbs and rights; press reviews. 50/8–9 The Little Train and The Little Fire Engine (1955–79): letters concerning rights and royalties; 1972 letter concerning a new Bodley Head edition. Sub-series D: Television and Radio Scripts 51/1 Aquarius Programme I (1971): transcript of television discussion concerning A Sort of Life. 51/2 Arts Commentary (1973): transcript of radio discussion about Collected Editions of The Ministry of Fear, A Gun for Sale and The Quiet American. 51/3 The Arts This Week (1969): transcript of radio discussion concerning Travels with My Aunt. 51/4 BBC Copyright (1968): correspondence. 51/5 The Book Programme (1978): transcript of radio programme to mark publication of The Human Factor,

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including Greene reading extracts from A Sort of Life. 51/6 Book Talk (1972): transcript of radio review by Victor Price of Collected Stories. 51/7 Books to Read (1961): transcript of radio review by Gilbert Phelps of A Burnt-Out Case. 51/8 ‘Cheap in August’ (1970): correspondence concerning broadcasting fees. 51/9 The Critics (1961): transcript of radio group discussion concerning A Burnt-Out Case. 51/10 The Critics (1964): transcript of radio group discussion concerning Carving a Statue. 51/11 The Critics (1963): transcript of radio review concerning A Sense of Reality. 51/12 Critics’ Forum (1982): transcript of radio group discussion concerning The Human Factor and Monsignor Quixote. 51/13 ‘The Fallen Idol’ (1968): typescript of short story script for radio production. 51/14 Graham Greene takes the Orient Express (1968): transcript of interview with Greene by Christopher Burstall during journey on Orient Express (see also 51/16 and 51/17). 51/15 The Great Jowett (1939): original typescript of radio play, with authorial revisions. 51/16, 51/17 The Hunted Man (1968): press clippings about television programme; post-production script for programme which included dramatized scenes from five of Greene’s novels. 51/17 Insert New Comment (1963): transcript of discussion for radio between

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Frank Kermode, Anthony Burgess and Gabriel Fielding concerning A Sense of Reality. 51/18 Interview with Andrew Sinclair (1969): transcript of television discussion concerning The Power and the Glory. 51/19 Interview with Ronald Bryden (1970): transcript of radio interview concerning Short Stories Collected Edition. 51/20 Interview on Soviet Union (1968): extract from transcript of International PEN Club meeting giving Greene’s contribution to discussion concerning Greek and Russian writers serving prison sentences. 51/21 Kaleidoscope (1973): transcript of radio programme to mark Greene’s 69th birthday including assessment of him as a novelist by Anthony Burgess. 51/22 Kaleidoscope (1975): transcript of radio interview with Ronald Harwood entitled ‘Time and the Novelist’, concerning The Return of A.J. Raffles. 51/23 Life and Letters (1961): transcript of radio programme concerning In Search of a Character featuring Greene reading extracts from book. 51/24 Life and Letters (1963): transcript of radio review entitled ‘A World of Sinners’, concerning A Sense of Reality. 51/25 Lift Up Your Hearts (1964): transcript of radio review concerning A Burnt-Out Case. 51/26 The Masters: Graham Greene (1964): transcript of radio programme with narration by Francis Watson and contributions by Greene, R.K. Narayan, Michael Meyer and Phyllis Calvert. 51/27 ‘The Ministry of Fear’ (1973): play script of radio adaptation.

51/28 Myth, Reality and Fiction (1961): transcript of programme for radio appreciation of Greene’s work, broadcast in 1962, compiled by Frank Kermode and including contributions from seven novelists. 51/29 A Novelist at Work (1961): typescript of radio talk by Michael Meyer; related exchange of letters between Meyer and Greene. 51/30 Now Read On (1972): transcript of radio discussion concerning Collected Stories. 51/31 Now Read On (1971): transcript of radio discussion concerning the Collected Editions of Greene’s work. 51/32 Now Read On (1971): transcript of radio interview with Jocelyn Ferguson concerning A Sort of Life. 51/33 Our Man in Havana (1973): copy of a play script for dramatized version of novel for Polish television. 51/34 Personality and Purpose No. 11 (1953): transcript of talk for the BBC Brazilian Service concerning The Living Room. 51/35–36 Telephone Interview (1959–60): transcript of telephone interview for radio with Peter Duval Smith; letter from programme producer to Greene apologizing for interviewer’s irritating manner; further correspondence regarding abandonment of project. 51/37 Radio Times (1984): magazine extract. 51/38 ‘A Small Affair’ (1953): transcript of extract from The Quiet American which Greene read for radio broadcast. 51/39 V. S. Pritchett (1948): typescript with authorial revisions of radio talk by V. S. Pritchett entitled ‘Graham Greene’. 315

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51/40 Wednesday Book Programme (1959): transcript of radio programme concerning The Complaisant Lover featuring dramatized extracts; letter from BBC to Greene about programme. 51/41 What Books I Please (1981): transcript of radio talk by Edward Norman concerning The Lawless Roads. 51/42 World of Books (1969): transcript of radio programme concerning Travels with My Aunt. 51/43 World of Graham Greene (1961): transcript of radio programme entitled ‘The World of Graham Greene’ in series ‘Life and Letters’ for BBC Overseas Service; it includes excerpt from Duval Smith interview (see 51/35– 36 above). 51/44 Writer at Work (1969): transcript of telephone interview for radio; interviewer not identified. Sub-series E: Essays and Articles 52/1 The Times (1926): copies of newspaper between 5 and 17 May, coinciding with the General Strike. 52/2 Essays and Articles: General (1923–68) Published copies in newspapers and journals of: ‘Aspects of Overseas Life: Walking in Ireland’ (1923); ‘Oberammergau’ (1930); ‘Vive Le Roi’ (1938); ‘Nordhal Grieg: A Personal Note’ (1944); ‘The Assumption of Mary’ (1951); ‘The Pope Who Remains A Priest’ (1951); London Diary (1952)  – concerning Charlie Chaplin; ‘Going into Europe’ (1963); ‘Retour a Freetown: Un récit de Graham Greene’ (1968)  – translation of ‘Graham Greene Revisits the Soupsweet Land’; ‘Reflections on the Character of Kim Philby’ (1969). 316

52/3 ‘The Assumption of Mary’ (1950): published copy in Life. 52/4 Why Do I Write? (1967): note about reprinting in Czechoslovakia the 1948 publication featuring literary discussion between V. S. Pritchett, Elizabeth Bowen and Greene. 52/5  & 52/6 Lolita (1958–9): newspaper clippings concerning the controversy over Lolita; correspondence involving Greene, his solicitor, Vladimir Nabokov and Max Reinhardt. 52/7 ‘Letter to a West German Friend’ (1963): published copies in Die Zeit and the New Statesman. 52/8, 52/9 ‘The Soupsweet Land’ (1968–9): typescript with some additions; letters concerning publication, and photographs to illustrate the article. 52/10 ‘The Lotus Land’ (1969): typescript and two letters, one by Greene, concerning translation of article into German. 52/11 ‘Regina vs Sir James Barrie’ (1969): typescript, plus published copy in the Spectator. 52/12 Essays and Articles: General (1969–71) Published copies in newspapers and journals of: ‘Chez Soi’ (1969); ‘Hints from an Unhappy Future’ (1971); ‘In the Footprints of a Priest’ (1971); ‘The IndoChina Love Affair’ (1971); ‘Swamps, Rain and a Mad Cook’ (1971) – all these refer to introductions to the Collected Editions of Greene’s novels; four extracts from A Sort of Life; ‘Shame of the Catholics, Shame of the English’ (1971). 52/13 Essays and Articles: General (1969–70) Published copies in newspapers and journals of ‘Graham Greene Recollects’

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(1970) and ‘A Black Comedy in Havana’ (1970)  – introductions to Collected Editions of, respectively, It’s a Battlefield, England Made Me and Brighton Rock, then Our Man in Havana; Das Land des Lotus (1969); ‘La musique du désespoir’ (1970, taken from ‘The Young Dickens’). 52/14 ‘The Paradox of Christianity’ (1970): correspondence concerning Czechoslovakian translation of essay. 52/15 Essays and Articles: General (1972–3) Published copies in newspapers of ‘Last Days of the Pleasure Dome’ and ‘Confessions of a Reformed Film Critic’ (both 1972, and both of them Greene’s introduction to his volume of film criticism, under different titles); ‘The Virtue of Disloyalty’ (1972); ‘The Blitz from a Distance’ (1973) and ‘Arms and the Author’ (1973)  – introductions to Collected Editions of, respectively, The Ministry of Fear and A Gun for Sale; ‘My adventures as a Bookhunter’ (1973)  – based on Greene’s introduction to David Low’s With All Faults; ‘Herbert Read: a memoir by Graham Greene’ (1973), later included in Ways of Escape. 52/16 ‘Security in Room 51’ (1973): typescript of article about Greene’s experience of SIS in wartime. 52/17 Train Robbery Sentences (1963–6): considerable correspondence, many letters responding to and mostly supporting Greene’s published letter of August 1964. 52/18 Essays and Articles: General (1971–85) Published copies in newspapers and journals of: ‘My Adventures as a Bookhunter’ (1973); ‘Revolutionary

Bystander’ (1974)  – concerning 1948 Prague revolution; ‘Singular First Person’ (1971), ‘Train of Thought’ (1974) and ‘Victim of Theology’ (1974) – introductions to Collected Editions of, respectively, The End of the Affair, Stamboul Train and A Burnt-Out Case; ‘Something of the Angel yet Undefac’d’ (1974)  – concerning publication of Greene’s biography of Lord Rochester; ‘The Pleasures of Deportation’ (1974); ‘The Lines on the Palm’ (1974); ‘The Poet and the Gold’ (1974); ‘The Other . . . Whom Only Others Know’ (1975) – the last four titles above part of series entitled ‘Remembering’; ‘The Pleasures of Being Deported’ (1975) – variant title for ‘The Pleasures of Deportation’; ‘A Weed Among the Flowers’ (1985). 52/19 Essays and articles: General (1976–84) Published copies in newspapers and journals of ‘Tales from a Vienna War’ (1976), ‘Black Humour in Haiti’ (1976), ‘Vagaries of Fortune’ (1976), ‘Journey Through an African Night’ (1978) and ‘A Mexican Journey’ (1978) – introductions to Collected Editions of, respectively, The Third Man, The Comedians, Loser Takes All, Journey Without Maps and The Lawless Roads; ‘Freedom of Information’ (1984), concerning Greene’s FBI file. 52/20–22 ‘The Country with Five Frontiers’ (1976–7): correspondence and publication details concerning article about Panama and future articles on subject in the New York Review of Books (NYRB). 52/23–25 ‘The Great Spectacular’ (1977–8): typescript of article on signing of Panama Canal Treaty; correspondence concerning article and about foreign 317

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rights to article following publication in NYRB. 52/26–7 ‘A Weed Among the Flowers’ (1985–90): typescript; letter about a miniature book of the article; Greene piece on publisher Sylvester and Orphanos; typescript of the story ‘A Really Impossibly Bad Hotel’. 52/28 Why the Epigraph? (1989): six-page manuscript of drafts of various epigraphs used in book plus preface. 52/29 ‘The French Peace’ (1924): published copies in Oxford Outlook of ‘The French Peace’, ‘John Drinkwater’ and the first page of ‘Eight More Harvard Poets’. 52/30 ‘Prague 1948’ (undated): typescript with minor corrections, not by Greene, of article later published as ‘The Revolutionary Bystander’. Sub-series F: Reviews 52/31–35 Book Reviews, 1932–88, arranged chronologically 52/36 Book Reviews: Correspondence (1967–76) 53/1 Play Review (1957) 53/2 Art Review (undated) 53/3 Review: Living God (1949) Sub-series G: Letters to the Editor and Editorials 53/4–30 Letters to the Editor and Editorials, 1945–91, arranged chronologically. 53/31 Unidentifiable Editorial Correspondence (undated) Sub-series H: Non-fiction books (Travel, Biography and Autobiography) 54/1–3 Getting to Know the General (1984–6): correspondence, including readers’ letters and Greene’s judgements 318

on the book; press reviews and a legal agreement. 54/4–9 In Search of a Character (1961–2): considerable correspondence; press reviews. 54/10–21 J’Accuse (1979–89) Typescript copies and separate comments on it; very considerable correspondence, some official/legal, some from readers, some from Greene; photocopy of Daniel Guy’s criminal record. 54/22–3 John Gordon Biography (1946–59): letters from and to Greene, and press cuttings. 54/24 Journey Without Maps (1968– 72): letters, some concerning rights. 55/1–11 Lord Rochester’s Monkey (1971–87) Galley proof copy, typescript notes and corrections. Considerable correspondence concerning adoption, editing and publication. Readers’ letters. Issues of foreign sales and rights. Press reviews and articles. 55/12–18, 56/1–2 A Sort of Life (1967–91) Extensive correspondence 1967–70 to and from Greene about the writing of the book. Very considerable correspondence concerning publication (1971), including a great many readers’ letters in response. Corrections. Very extensive press cuttings. 56/3–4 Ways of Escape (1980–1): a few readers’ letters and replies; extensive press cuttings. 56/5–10 A World of My Own (1990– 4) Typescript copies, corrections, notes of queries and suggestions; proof copy. Detailed letter from Louise Dennys.

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Publishers’ agreements. Press reviews and articles. Sub-series I: Introductions and Consultation on Other Works 56/11 Foreword for A Jerusalem Anthology (1981): two typescripts. 56/12–3 Essays in Honour of Ford Madox Ford (1962–87): financial information on what seems to be the 1981 The Presence of Ford Madox Ford; reviews of the 1962 Bodley Head Ford Madox Ford. 57/1–18 An Impossible Woman: Dottoressa Moor (1956–80): exceptionally extensive correspondence, some between Greene and Dottoressa, some Greene to others and much else. 57/19 Preface: Night and Day (1978– 86) Typescript (dated and published 1985). Also typescript of Foreword to The Ford Madox Ford Reader (undated, published 1986); typescript of Preface to Sylvester and Orphanos’ ‘How Father Quixote became a Monsignor’ (1979, published 1980); typescript of Foreword to ‘Church and Politics in Latin America’ (1986, published 1990); typescript of Introduction to Narayan’s The Bachelor of Arts (undated, published 1978); typescript of Foreword to Cockburn Sums Up (undated, published 1981); typescript of Foreword to A Bibliography of Arthur Conan Doyle (1981, published 1983). Three-page typed list of a great many of Greene’s introductions, articles, book reviews, short stories and poems, with details of first publication; 1931–78, but mainly the 1960s and 1970s. 57/20 Introduction: Papa Doc: Haiti and Its Dictator (1969–72): correspondence.

57/21–3 The Spy’s Bedside Book (1955–71): extensive correspondence; typescript of Hugh Greene’s Epilogue. 57/24 Miscellaneous Introductions (1954–88) Manuscript and typescripts of Introduction to ‘The New House’ (dated 1987, published 1989); typescript of Introduction to A Parish at War: Letters from Nicaragua (1988, published 1989); copy of the 1937 review of Priestley’s A Typewriter in the Desert; several copies, some holograph, of Greene’s letters to the press and others, 1970s and 1980s; typescript of poem ‘FINIS’, sent to the Tablet (1988); checklist of various items of Greene’s writings. Sub-series J: The School House Gazette 38/1–2 The School House Gazette (1911): volumes I and II of handwritten journal by Greene’s siblings. Sub-series K: Poetry 58/3–5 Poetry (1924–83) Copies of published poems including: ‘The History Schools’ (1924); ‘The Secret Room’ (1924); ‘Caesar’s Ghost’ (1927); ‘Cowardice’ (1925); ‘Sad Cure: The Life and Death of John PerryPerkins’ (1926); ‘Ballade of a Press Conference’ (1956); ‘Song For Three Ageing Voices’ (1954); ‘The Winter War: Finland’ (1940); ‘A Letter from The Workhouse’ (1973); ‘An Epic Fragment From “The Dish Pioneers” Attributed to A_F_D N_Y_S’.

Series III: Travel 59/1–3 Assam (1953–7) 59/4 Austria (1981–3) 319

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59/5 Brasilia (1958) 59/6 Burma & Shan States (1954) 59/7–8 Chile (1967–72) 59/9–10 China (1957–66) 59/11 Congo (1962) 59/12–16 Cuba (1954–93) 59/17–20 Czechoslovakia (1963–75) 59/21 Far East (1964–5) 59/22 Fernando Po (1952) 59/23–4 Finland (1964–70) 59/25 France (1952–72) 59/26–30 Germany (1963–74) 59/31–2 Goa (1963–4) 59/33–4 Greece (1953–74) 59/35–8 Haiti (1958–77) 59/39 Holland (1972–80) 59/40 Hungary (1975) 60/1–9 Indo-China (1952–67) 60/10 Ireland (1976) 60/11–13 Israel (1967–88) 60/14 Italy (1943–88) 60/15–8 Kenya (1952–6) 60/20 Laos (1961–5) 60/21–24 Malaya (1946–52) 60/25–27 Nicaragua (1982–9) 60/28–9 Panama (1976–87) 60/30, 60/31 Poland (1956–78) 60/32 Romania (1962–91) 61/1–6 Russia (1956–90) 61/7–8 Sierra Leone (1968) 61/9 South America (1991) 61/10 Spain (1979–84) 61/11 Sweden (1978–9) 61/12 Taiwan (1969) 61/13–4 Tahiti (1959–60) 61/15–7 USA (1951–84) 61/18 Vietnam (1965–6) 61/19 Yugoslavia (1978–9) 61/20 Passports (1954–78) 61/21 Passport Photos (1961) 61/22 Unidentifiable travel documents (undated) 320

Series IV: Writings about Greene Sub-series A: Essays and Articles 62/1–21 Material on Greene by various writers (1949–92) Sub-series B: Press Clippings 62/22–27, 62a/1-a/7 Press Clippings (1948–80) 62a/8 The New Yorker (1979–84) 62a/9–14, 63/1 Press Clippings (1981– 9) 63/2–3 After Greene’s Death (1991–3) Sub-series C: Memorial Service 65/4–6 Memorial Service in Westminster Cathedral (1990–1) 65/7 Antibes Memorial (1992) 65/8 Tributes to Greene (1992) Sub-series D: Biography 65/9–10 Graham Greene Country by Paul Hogarth (1984–8) 65/11–19 Anthony Mockler (1986–91) 65/20 Legal Documentation (1988) Sub-series E: Genealogical information 65/21 Genealogical correspondence (c.1892) 65/22 Food Card WW1 (c.1915) 65/23 Genealogical charts and notes (1949–81) 65/24 Robert Louis Stevenson – clippings (1949–93) 65/25 Birth and Marriage Certificates (1969) 65/26 Miscellaneous pamphlets relating to genealogy (1981–2)

Series V: Organizations, Invitations and Awards 66/1–29, 67/1–3 (1948–91): correspondence and other materials relating to a range of organizations and awards.

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Series VI: Honorary Degrees

Series XII: Other Documents

67/4, 67/5 Correspondence (1962–86)

69/18–35 (1973–91, and many undated): miscellaneous documents.

Series VII: Interview Requests 67/6–14 Correspondence (1978–90)

Series VIII: Gifts Made by Greene 67/15–52 Gifts made by Greene (1961– 90) Greene gave copies of his books to friends and families as they were published or as Christmas gifts. The files are named individually according to the book in question and contain a list of recipients in each case.

Series IX: Auction Houses and Manuscript Sales 68/1 Christie’s Sales Catalogue (1960) 68/2–9 Sotheby’s Sales Catalogues (1964–82) 68/10–15 Manuscript Sales  – correspondence and documents (1949–87) The files include the sales catalogues, complete with detailed descriptions, regarding the original manuscript copies of many of Greene’s most important works. There is also correspondence with intermediaries and some press cuttings.

Series X: Legal Issues and Official Documentation 69/1–12 Files cover a range of matters, including lists of manuscripts at the University of Texas before 1975, a plagiarism case over It’s a Battlefield/Bound to Violence (1972–3) and a threatened libel case over Children of the Sun (1976–7).

Series XI: World War II – Children’s Stories 69/13–17: four stories, and a file of Peter Solomon’s poetry.

Series XIII: Photographs Some files in this series contain single photographs, others multiple and some combine prints, negatives and slides. Sub-series A: Travel 70, 71/1–18; 72/1–21, 73/1–9 Brazil, Cambodia, Chile, Czechoslovakia, El Salvador, Goa, Haiti, Hungary, IndoChina, Kenya, Macao, Mexico, Nicaragua, Panama, Romania, Russia, Sierra Leone, Spain (various dates, several undated). Sub-series B: Personal Family Photos 73/10–26, 74/1–11 (some dated): a series of 28 photographs, mostly of Greene, sometimes with others, from the early twentieth century to the late 1980s. Sub-series C: Correspondence 74/12–33, 75/1–29 (some dated): photos of Antonis (with Greene), Malcolm Bosse, Vaclav Cichovsky, Mary Connell, Maria Couto, Rise Cronoset, Fr Paul de Gaul, Bernard Diederich, Jan Dobraczynski, Jocelyn Donner (Rickards), Dottoressa Moor, Fr. Leopoldo Durán, Vaclava Fialova, Gabriel Fielding, Franz Fredrichs, Francis Greene, Nordhal Grieg, Hartkinson (watercolour and painting), Fr Jose Huerta, Isobel, Alexander Korda, Harold Lee, Gabriel García Márquez, Comite Martchenko, Fr John Medcalf, Vill Molter-Christensen, Tadeusz Murek, Anne Nelson, Maria Newall, Nicol Davidson, Daniel Ortega, Mary Pritichett, Ljerka Radovic, László Róbert, Petre Solomon, Shirley Steegmuller (Hazzard), Henry Trofimenko, Catherine Walston, Fu Weici, Adolf Wollmarker. 321

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Sub-series D: Productions 76/1–15 (some dated): publicity and other photographs taken of the following productions: The Comedians, The Complaisant Lover, The Heart of the Matter, The Living Room, ‘Mortmain’, Day for Night, Our Man in Havana, The Power and the Glory, A Sort of Life. Sub-series E: People and Places Unknown 76/16–21 a varied collection photographs.

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Sub-series F: Photo Albums and Scrapbooks 76 Greene-Park Ranch Scrapbook (1956). 77 Shades of Greene television series (1975). 79 Monsignor Quixote (1985). Sub-series G: Oversize Albums 80/1–5 Photographs of: Greene (1957), Potting Shed stage production (c.1958), Graham Greene in Life magazine (1964– 77), Our Man in Havana film production (1959), Africa (undated).

Series XIV: Maps 80/7–16 Burma, Malaya, Indo-China, China, Cuba, Havana, Indo-China, Israel, Mexico, Tahiti (various dates).

Series XVI: Artefacts 81 Travel Scrabble®.

Series XVI: Artwork – Oversize Items 1–17 Various drawings, sketches and posters. GRAHAM GREENE PAPERS MS 04–61

1/1–12 Typescripts (1961–90)

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Twelve typescripts, some mostly associated with Greene’s writings, some with corrections and amendments. 1/1 Nathalie Argelich-Blas, La Promesse (undated). 1/2 Denis Cannan, The Power and the Glory – screenplay (1980). 1/3 Denis Cannan and Peter Bost, The Power and the Glory – stage prompt copy (undated). 1/4 Lenore Coffee, The End of the Affair – screenplay (undated). 1/5 Graham Greene, The Complaisant Lover (1959). 1/6 Jean Anouilh and Nicole Lancon, L’Amant Complaisant (undated). 1/7 Graham Greene, ‘How Father Quixote Became a Monsignor’ (1979). 1/8 Graham Greene and Dorothy Glover, Victorian Detective Fiction (1988). 1/9 Graham Greene, ‘A Visit to Morin’ (undated). 1/10 Graham Greene, Yes and No (1979). 1/11 James Greene, A Sad Paradise (undated). 1/12 Paz Casanova Morena Portfolio C (1987). GRAHAM GREENE PAPERS MS 1986–69

1/1, 1/2 A Sort of Life (c.1971) A 246-page typescript of Greene’s autobiography with extensive number of still readable deleted passages, and evidence of some pages having been removed altogether. 1/3–6, 2/1–2  & 2/4, 3/2–19 Ways of Escape (1979–80) Lester and Orpen Dennys publishers galley copy of autobiography with marginalia by Louise Dennys and

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corrections by Greene and another. Also a typescript belonging to publisher Simon and Schuster with marginalia by Dennys and amendments by author. Some passages deleted, extensively edited or reworked. Undated publisher’s block with pasted-in pages taken from introductions to Greene’s Collected Editions and other works with authorial amendments and Dennys marginalia. 3/2–19: working materials for compiling the autobiography and include published articles, introductions to earlier works and other writings. 2/3 Doctor Fischer of Geneva (c.1980): uncorrected typescript. 3/1  ‘The Ballad of Graham Greene’ (1941): copy of Noël Coward poem and of ‘Ode on the Wedding of Thomas Driberg Esq MP’ by Osbert Sitwell, plus associated letters and articles. GRAHAM GREENE PAPERS MS 1996–05

1/1–6 Graham Greene  – A.S. Frere Correspondence (1953–90). GRAHAM GREENE PAPERS MS 1997–06

Correspondence and printed materials relating to the professional bodies supporting the work of the author. Series I Correspondence: Professional Management Sub-series A: Publishers Sub-series B: Agents Sub-series C: Management Sub-series D: Solicitors Sub-series E: Non-literary Productions of Greene’s Works

Sub-series F: Rotunda: Vivien Greene’s Dollhouse Company Series II: Graham Greene Productions GRAHAM GREENE’S LIBRARY

Around 3,000 books from Greene’s own library, often with annotations or inscriptions. FATHER PHILIP CARAMAN S.J. PAPERS MS 1998–030

105 letters, 13 postcards, one telegram from Greene to Father Caraman (1948– 75); one letter from Greene to Father Henshall relating to Father Caraman. Seven letters from Greene to Father Martindale (1948–62). GERALD C. WALLING – GRAHAM GREENE PAPERS MS 1993–07

1/1–10 Playbills, Articles and Theatre Reviews (1964–75): collection of press cuttings, articles and memorabilia relating to the first productions of Greene’s plays 1953–75. FLANN O’BRIEN PAPERS

One letter to the author Flann O’Brien thanking him for the copy of his latest book. BOSTON UNIVERSITY: Howard Gotlieb Archival Research Center

hgar-srv3.bu.edu/ THE MONICA MCCALL COLLECTION (1962–4): 20 letters to McCall, US Literary Agent, concerning

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proposed contracts, ongoing projects, financial matters and instructions.

Cambridge, Massachusetts HARVARD UNIVERSITY: Harvard College Library: Houghton Library: Modern Books and Manuscripts

hcl.harvard.edu/libraries/houghton/ VICTORIA OCAMPO MS Span 117 (361–365): (1946–78, five undated): 110 letters and one telegram in nine files to Ocampo; mainly typescript, approximately ten holograph; small number written by Greene’s secretaries.

Carbondale, Illinois UNIVERSITY OF SOUTHERN ILLINOIS: Morris Library: Manuscript Collections

www.lib.siu.edu LIONEL BRITTON PAPERS 1/1/ MSS233 (1957–8): two letters to the leftwing writer Lionel Britton concerning the Society of Authors.

Louisville, Kentucky UNIVERSITY OF LOUISVILLE LIBRARY: Archives and Special Collections

louisville.edu/library GRAHAM GREENE COLLECTION (SC436) 1933–88: Five letters to Robert Miller concerning Miller’s books on Greene. 324

One letter to George McWhorter. Curator Rare Books, University of Louisville. One letter to Robert Green-Armytage. Thirteen letters from Greene as editor of Night and Day Magazine. 20 letters to Fr. John Medcalf; one letter from Foxtrot Films to Medcalf; a draft ‘message of solidarity’ for European Commission for Human Rights in Peru meeting, composed by Medcalf, edited by Greene. 19-page holograph fragment of autobiography with extensive changes.

Nashville, Tennessee VANDERBILT UNIVERSITY: Jean and Alexander Heard Library: Special Collections

www.library.vanderbilt.edu/ ANDREW LYTLE PAPERS: (1944): two letters from Greene at Eyre & Spottiswoode, enquiring about Lytle’s latest writings with a view to possible future publication.

New Haven, Connecticut YALE UNIVERSITY: Beinecke Rare Book and Manuscript Library

beinecke.library.yale.edu/ NORMAN DOUGLAS COLLECTION: Correspondence: GEN MSS 88 – Box 17, Folder 248, Box 45, Folder Correspondence Greene G. 1951: seven letters and telegrams to Douglas (1951); four letters and telegrams to Kenneth Macpherson (1954). R. P. WARREN PAPERS: Correspondence: YCAL MSS 51, Box

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91, Folder 1718 (1944–54): 11 letters to Warren. REBECCA WEST PAPERS: Correspondence: GEN MSS 105, Box 9, Folder 332 (May-June 1940): four letters from Greene at the Ministry of Information.

New York COLUMBIA UNIVERSITY LIBRARY: Rare Book and Manuscript Library

library.columbia.edu/indiv/rbml.html EDMUND BLUNDEN LETTERS AND MANUSCRIPTS: MS 0617 (1944–5): three letters from Greene at Eyre & Spottiswoode about a book on the modern army, and about two of Blunden’s poems. DOROTHY CRAIGIE PAPERS: MS 0299 (1964–5): 20 letters to Eric Osborne; galley proofs of the catalogue of Victorian Detective Fiction (1966). GRAHAM GREENE LETTERS: MS 0518: Box 1, Folders 1 and 3 (1953–90): over 80 letters to Mercia Ryhiner Schwob Tinker Harrison, including 20 holograph letters, and another nine from his secretary; and 26 cards and telegrams. One letter from Greene at Eyre & Spottiswoode to Barbara Wall (1945), and to R.N. GreenArmytage (1953). Folder 2 contains some letters to Mercia Harrison from other correspondents than Greene. HOUSE OF BOOKS LTD RECORDS: MS0617 (1971–81): 40 letters to David Low. FRANCIS STEEGMULLER PAPERS: MS 1195 (1948): one letter from Greene at Eyre & Spottiswoode, about translating Flaubert’s Notes de Voyage.

MORGAN LIBRARY AND MUSEUM: Pierpoint Morgan Library: Department of Literary and Historical Manuscripts

www.themorgan.org/ GRAHAM GREENE LETTERS

MA 2153 (1945–55 and undated): 62 letters and one postcard to Herbert Greene. MA 4303 (1945): one letter to Nicholas Moore at Poetry London. PARIS REVIEW ARCHIVES

MA 5040: Editorial correspondence: PR1 Box 4 (1952, 1963, 1976): one letter to Peter Matthiessen, two to George Plimpton. NEW YORK PUBLIC LIBRARY: Archives and Manuscripts: The Berg Collection

archives.nypl.org RICHARD ALDINGTON COLLECTION OF PAPERS (1954): one letter enclosing a copy of Greene’s review of Aldington’s book on Norman Douglas, Pinorman. EDWARD MARSH COLLECTION OF PAPERS (undated and 1946): two letters. HERBERT MITGANG COLLECTION OF PAPERS (1967– 70): five letters from Greene’s secretary stating that he was too busy to write an article for the New York Times. VLADIMIR NABOKOV PAPERS (1957–9): five letters, four of them holograph. JULIAN SYMONS COLLECTION OF PAPERS (1946): three letters. 325

Princeton, New Jersey

Princeton, New Jersey PRINCETON UNIVERSITY LIBRARY

library.princeton.edu/ EDITH SITWELL PAPERS Box 1, Folder 8 (undated and 1960): two letters concerning social matters. LOUIS KRONENBURGER PAPERS Box 1, Folder 58 (1957): two letters concerning a project to edit a volume of Joseph Conrad’s letters. JORGE EDWARDS COLLECTION Box 9, Folder 23 (1974–9): five letters. FRANK KERMODE COLLECTION Box 11, Folder 15: an unpublished transcript of an interview with Greene. ALLEN TATE COLLECTION Box 31, Folder 42 (1944–71): 20 letters.

Pullman, Washington WASHINGTON STATE UNIVERSITY: Holland Library: Manuscripts, Archives and Special Collections

libraries.wsu.edu ELIZABETH SALTER PAPERS: MASC Cage 4743 (1960 and 1966): two letters, one giving a critique of Salter’s manuscript of her biography of Edith Sitwell. EDITH, OSBERT AND SACHEVERELL PAPERS: MASC Cage 531, 2/11 (1960): one letter to Edith Sitwell about meeting.

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San Marino, California HUNTINGTON LIBRARY: Manuscripts Collection

www.huntington.org/ CONRAD AIKEN PAPERS: AIK 3410 and AIK 3411, Box 52: copies of Greene’s Spectator reviews of Aiken’s King Coffin (1935) and Great Circle (1933). PATRICK BALFOUR, BARON KINROSS PAPERS: KIN 2400 (c.1925): one letter to Balfour, fellow Balliol undergraduate, suggesting a fight, to end ill-feeling between Greene and the addressee, ‘James’. ELIZABETH BOWEN PAPERS: HM 52962–3, Box 3 (1945–6): two letters. CHRISTOPHER ISHERWOOD PAPERS: CI 936 and 937 (c.1945, and 1964): two letters. DUNSTAN THOMPSON PAPERS: Box 5, no. 41 (1962): one letter, passing on a volume of Dunstan’s poetry to the Bodley Head.

St Louis, Missouri WASHINGTON UNIVERSITY LIBRARY: Special Collections Department: Manuscript Collections

library.wustl.edu/ RICHARD STANG PAPERS: MS 138 Correspondence 2/29 (1981–5): five letters to Dr Sondra Stang concerning Ford Madox Ford: Greene thanked her for Stang’s book on him, and agreed to write a foreword to an anthology of his writings.

Spokane, Washington

Spokane, Washington GONZAGA UNIVERSITY: Foley Center Library: University Archives and Special Collections

www.foley.gonzaga.edu/ THE REVEREND ANTHONY D. BISCHOFF S.J. COLLECTION (1949–91): 37 letters, postcards and telegrams.

Stanford, California STANFORD UNIVERSITY: Cecil H. Green Library: Special Collections and University Archives: Manuscript Collection

library.stanford/edu/ THE EDITH SOREL (GOMBOS) PAPERS (1966–71): 12 holographs, 16 typescript letters to the journalist Edith Sorel; half the letters are not year-dated.

Tulsa, Oklahoma UNIVERSITY OF TULSA: McFarlin Library: Special Collections and University Archives

www.utulsa.edu/mcfarlin Graham Greene Papers Collection 1985–003

(July-October 1948): four typescript letters from Vivien Greene’s solicitors to Vivien. (6 June c.1948): typescript draft of letter from Vivien to Graham’s solicitor.

(1 November 1962): typescript letter from Greene’s secretary to Vivien regarding his membership of the London Library; two relevant newspaper clippings. (c.1948): holograph draft of letter from Vivien to Dorothy Glover; (4 May 1952)  holograph letter from Dorothy Glover to Vivien. (January–August 1948): five holograph letters from Marion Greene to Vivien. (11 December 1948): typescript letter from Maud C. Greene to Vivien. (Undated): fragment of typescript letter from Fr. C.C. Martindale to Vivien. (c.1927, c.1949 and 1963): eight letters from Graham to Vivien Greene – five typescript, three holograph; (c.1949) typescript draft of letter from Vivien to Graham.

University Park, Pennsylvania PENNSYLVANIA STATE UNIVERSITY LIBRARY: Eberly Family Special Collections Library

www.libraries/psu.edu/ CHRISTOPHER LOGUE PAPERS: Box 12, 1958, Letters to Logue (1958): one letter of thanks to the English poet.

Washington, DC UNIVERSITY OF GEORGETOWN: Suzanne Deal Booth and David G. Booth Center for Special Collections, Joseph Mark Lauinger Memorial Library: Special Collections

www.library.georgetown.edu/

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Washington, DC THE GRAHAM GREENE PAPERS

Box 1 Diaries and Journals These span the years 1951–80 and relate to visits to Vietnam (1951, 1952, 1954, 1956)  Cuba (1954, 1957, 1966), USA and Malaya (1951), Kenya (1953), Haiti (1954), Poland (1956), Israel, Sierra Leone, Eastern Europe (1967), Argentina, Uruguay, Paraguay and South Africa (1968), Argentina and Paraguay (1970), Panama (1976 and 1977). The 1950s diaries and journals are in autograph manuscript form on A5 paper usually extracted from exercise books or printed diaries or notebooks. From 1966 to 1970 the publisher’s dummy copy for the book Victorian Detective Fiction: A Catalogue of the Collection made by Dorothy Glover and Graham Greene was used for the purpose. The two Panama diaries are compiled in orange A5-sized reporter’s notebooks. Boxes 2–7 Manuscripts Monsignor Quixote (1982): Boxes 2, 3 and 4 have autograph manuscripts, notes and galley proofs relating to the novel. There are also four letters from Father Durán commenting on the novel. Getting to Know the General: The Story of an Involvement (1984): Boxes 5 and 6 have autograph manuscripts, typed drafts and galley proofs for the memoir. Also included is what is referred to as ‘Chuchu’s copy’ (Greene’s friend and facilitator on his visits to Panama). Box 7 contains a number and variety of shorter manuscripts and other items. Some of the manuscript items are in autograph or typed form, others include several drafts. These include: For Whom the Bell Chimes (1983); 328

J’Accuse – the published copy (1982); ‘On the Way Back’ (1982); The Other Man: Conversations with Graham Greene (1981); ‘Foreword to a Wine Catalogue’ (unknown); Claud Cockburn’s autobiography  – foreword (1981); Life of Colonel Leroy  – introduction (1977); Jerusalem: The Holy City in Literature by Miron Grindea – introduction (1981); ‘In Memory of Liberia 1935’ – a poem (1983); The Tenth Man – a mimeographed typed manuscript (1985); A play (untitled) – a two-page fragment (unpublished); ‘Epitaph for a Play’ – preface to Carving a Statue (1964); The Diaries of Evelyn Waugh  – a book review (1976); Speech in thanks for receiving honorary citizenship of Anacapri (unpublished); Speech on receiving the Jerusalem Prize (1981); ‘Occasional Verse 1927–1940’  – a collection of poetry (1983) in holograph form mostly collected in A Quick Look Behind: Footnotes to an Autobiography (1984) but including two unpublished verses. ‘Opium in Albany’  – an essay (unpublished); ‘A Personal Impression’  – an essay (possibly unpublished); Letter to The Times (1989 in Yours Etc: Letters to the Press) Letter to The Sunday Times correcting article on Night and Day (1981) Boxes 8–10 Correspondence

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Boxes 8 and 9 (1937–66): 139 letters, postcards and telegrams, 126 of which are from Evelyn Waugh to Greene and 13 from Greene to Waugh. Box 10 (1923–79): 23 letters from John Hayward to Greene, 40 from Edith Sitwell and seven from Antonia White. Box 11 comprises a few items of ephemera and some news clippings relating to the author. GRAHAM GREENE PAPERS 2

Series 1. Arts and Letters Correspondence (Box 1) (1967–8): correspondence regarding a proposed mass resignation from the American Academy of Arts and Letters: a cover letter to Honorary Members explaining Greene’s reasons for resignation, and a draft letter of mass resignation; letters between Greene and Herbert Read about organizing the mass resignation; 22 letters of reply from Members, with copies of Greene’s replies; Greene’s and Read’s letters of resignation. Series 2. Violet Hunt Correspondence (Box 1)

(Undated): five letters written by Hunt to Greene. Series 3. Constant Lambert Correspondence (Box 1)

(1937): three letters to Greene about Lambert writing articles on music for Night and Day. Series 4. Kim Philby/Graham Greene Correspondence (Box 1)

Nine letters and one postcard from Philby to Greene (1968–88); ten from Greene

to Philby (1978–87); one from Greene and Yvonne Cloetta to Rufa Philby after her husband’s death in May 1988; and a photograph, newspaper article and book review. Series 5. Manuscripts for Major Works:

The Captain and the Enemy (Boxes 1–2): autograph manuscript (16 December 1974 to 23 November 1985), with two versions of an ‘Apologia’ regarding the long history of the writing of the novel; and two typed manuscripts (one 7 January 1985, the other apparently from 1985)  with authorial corrections and additions. For Whom the Bell Chimes (Box 2): typed manuscripts (1978) of first draft and second draft (the latter consisting of Act 3); a typed manuscript (February 1980) of some parts of Act 3; an undated ‘final typescript’; a photocopy of the play; a typed manuscript sheet labelled ‘New Ending: Nov 1979’; and a list of corrections (February 1980). A House of Reputation (Box 2): photocopy of Acts I and II, with corrections (presumably 1986); five sheets of manuscript with corrections and additions; seven autograph pages of Act III; ten sheets of manuscript with corrections and additions with folder (20 November 1986). The Tenth Man (Boxes 2–3): typed manuscript, labelled ‘1st Typescript? 1944’; an autograph manuscript of the introduction to the novel (1984 or 1985); a typed manuscript of the introduction, including the story of Jim Braddon and ‘Nobody to Blame’ (1984 or 1985); and 329

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three typed manuscripts of the novel, one from 1984 with the introduction and two from 1984–5, all with autograph corrections. ‘While Waiting for A War’ (Box 3): autograph manuscript of the article (presumably 1985), and the original journal kept by Greene between 1936 and 1938, from which the manuscript of ‘While Waiting for a War’ was written. Series 6. Shorter Manuscripts – Latin America (Box 3)

A mixed collection of letters written to newspapers and magazines, articles, notes, reviews, two prefaces and the text for a speech (all 1980s). They were kept by Greene in a folder marked ‘Nicaragua and Central America’ and are now stored in their original order. About half the material relates directly to Nicaragua, three items to Panama and the rest cover a range of topics concerning other Latin American countries. Most of these writings were published. Series 7. Shorter Manuscripts – Literary (Box 3)

As with Series 6, this collection from a folder marked ‘Literary’ has been left in its original order. It comprises 17 documents in total, a variety of letters, articles and essays. It is a mixture of published and unpublished writings. These include: ‘The Last Decade’ (1964): a sixpage autograph manuscript, composed in a loose journal form and intended to be the basis of what Greene thought would be his last novel. The manuscript mostly consists of his reflections on reaching the age of 60. 330

‘Introduction (to an autobiography)’ (c.1968/9): a two-page autograph manuscript originally intended to be the introduction to Greene’s first volume of autobiography A Sort of Life (1971); presumably abandoned in favour of the published introduction. ‘A Constant Question Mark’ (1987): autograph and typed manuscript. ‘Out of the Dustbin’ (c.1988): autograph manuscript of the small collection of unfinished writings which appear under this title in Reflections (1990). Postscript to For Whom the Bell Chimes (c.1983): a short autograph manuscript not included in the limited edition of this play. ‘On Being Painted’ (undated): unpublished article about this experience. Two prefaces in autograph manuscript form which were later published: one for Night and Day (1985), the other for The Ford Madox Ford Reader (1986). Two texts for speeches. One was intended as a brief ‘intervention’ at a meeting at the Sorbonne in Paris to discuss the problems writers encounter in getting their work translated. The second was for a Publishers’ Association dinner. Six letters, four of which were subsequently published in newspapers. One of the two private letters concerns the publication of The Tenth Man (1985). Series 8. Shorter Manuscripts – Miscellaneous (Box 3)

Series 8 is the contents of a folder marked ‘Miscellaneous and Sometimes Flippant’. It chiefly comprises letters on subjects

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ranging from Vodka to Euthanasia. All but two were subsequently published. The two unpublished ones are of interest as they illustrate the minor altercation Greene had with The Times newspaper in the 1980s when they stopped publishing some of his letters to the editor. Five drafts for a very short speech of thanks for an award are included in this folder. Series 9. Appointment Diaries (Box 4)

(1978–80): 12 diaries recording visitors and travel plans. Series 10. Graham Greene at Georgetown (Box 5)

Material relating to Greene’s visit to Georgetown University in October 1985. Included is a sound recording of a question and answer session involving Greene, a copy of the university’s Greene ‘Finding Aid’, annotated by the author and some newspaper cuttings relating to the visit. Series 11. Nicaragua Interview (Box 5)

Sound recordings of an interview Greene gave for a local Washington radio station entitled ‘On Nicaragua’. GRAHAM GREENE – CATHERINE WALSTON COLLECTION

1. Correspondence: Greene to Walston (Boxes 1–44) (September 1946 to July 1978): around 1,200 letters, telegrams and postcards. 2. Correspondence: Miscellaneous (Boxes 44–45) Fifteen letters to Walston from correspondents other than Greene (1947–

77), four letters from Greene to others (1948–68) and 17 letters to Greene from others than Walston (1947–50). 3. Manuscripts (Boxes 46–69) A great range of material, detailed in Part  1: personal material concerning the Greene–Walston relationship (including poems, ‘Black Book’, diaries); a diary from 1938; two unpublished novels, and two unpublished short stories; prose fragments of unpublished material; autograph, typed and proof copies of published material. 4. Ephemera (Box 70) 5. Printed Matter/Press Clippings (Boxes 71–72) 6. Photographs (Boxes 73–75) 7. Addenda (Box 76) (1948–51 and undated): additional correspondence not included in the Correspondence Series above. 8. Oversize Items (Printed Matter/ Posters) (Box 77) THE WALSTON COLLECTION OF GRAHAM GREENE

See Part 1 for details. DAVID AUSTIN PAPERS

Austin worked for three years in Naples with Father Mario Borrelli’s programme for street boys. The papers include correspondence from Greene who donated royalties from his Italian sales to the charity. At the time of writing the material was unprocessed and therefore not open to researchers. GRAHAM GREENE/ANTHONY BISCHOFF COLLECTION

(1950–84): nine typed letters and cards to Bischoff; presentation copies with 331

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personal inscriptions of: ‘A Visit to Morin’ (1960), Introductions to Three Novels (1962), ‘The Revenge’ (1963), Carving a Statue (1964), The Return of A.J. Raffles (1975). ANITA BJÖRK COLLECTION

Graham Greene’s correspondence with Anita Björk (1971–90) (Box 1) 26 letters, from Greene to Björk; one from Vivien Greene to Björk and one Christmas card. GRAHAM GREENE–YVONNE CLOETTA COLLECTION

1. Correspondence (Boxes 1–3) (July 1963 to July 1987): 121 letters and postcards from Greene to Cloetta, with occasional enclosures of photographs and newspaper clippings. 2. Manuscripts of An Impossible Woman (Boxes 3–4) (1975): folder and typed manuscripts, with extensive autograph corrections by Greene, of An Impossible Woman: The Memories of Dottoressa Moor of Capri. THE DOROTHY CRAIGIE COLLECTION

Sixteen original gouache illustrations by Craigie for the 1950 children’s story, The Little Fire Engine, the second (of four) written by Greene and illustrated by Craigie. LEOPOLDO DURÁN PAPERS

1. Correspondence Graham Greene’s correspondence with Father Durán (Boxes 1–3). (June 1964 to September 1990): 122 pieces of correspondence from Greene

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to Durán, mostly letters, some telegrams, a postcard and some with newspaper clippings. Many have copies of Durán’s replies to Greene’s letters. Vivien Greene’s correspondence with Father Durán (Boxes 4–5). (1991–2004): around 70 letters from Greene’s wife Vivien, and her companion Margaret Brown, to Durán, and 14 from Durán to Vivien. There is also correspondence regarding the Vivien Greene Trust.

Correspondence with Greene family members (Boxes 6–7). (1971–97): letters to Durán from Hugh Greene, Hugh’s wife Sarah, Greene’s sister Elisabeth Dennys. There are also some photographs and other materials.

General correspondence (Boxes 26–30). (1985–2009): correspondence to a range of people, including Greene’s children Caroline and Francis, Norman Sherry, Richard Greene and Shirley Hazzard.

2. Commonplace Books (Boxes 9–10). Two books given by Greene to Durán. The first (1977) is of 201 pages and inscribed by and written in extensively by Greene. The second (undated) has a series of short entries by Greene between 1976 and 1989. Box 10 has a typed transcription of the first Commonplace Book.

3. Monsignor Quixote material (Boxes 8 and 13). A copy of ‘How Father Quixote Became A Monsignor’, inscribed by Greene to Durán; copies of Durán’s detailed notes for Greene on the typescript of the

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completed novel; and material relating to the television film of the novel, including screenplays, a shooting script and promotional material.

4. Father Durán’s diaries (Box 43). (1976–90): 17 diary notebooks kept by Durán, recounting his travels and conversations with Greene.

5. Other Greene-related material (Boxes 11–12, 14–25, 31–42, 44–48). A mass of material, including manuscripts and proofs of Durán’s book Graham Greene: Friend and Brother; typescripts in English of Durán’s study of priesthood in The Power and the Glory and in Spanish of his other studies of theology and the priesthood in Greene; photographs of Greene; obituaries of Greene; writings by Durán on Greene, notes on Greene’s novels and some audiovisual recordings. THE SIR HUGH GREENE COLLECTION

Correspondence (1925–84): around 350 items, the great majority being letters (and 30 postcards) from Graham to Hugh. There are occasionally other items, including letters from Graham to others, and press clippings.

VIVIEN GREENE PAPERS

Correspondence Six items written to Greene’s wife Vivien, including one undated postcard from Graham showing a church near the Berlin Wall. The five other letters are from different correspondents and date mostly from the 1940s. SHIRLEY HAZZARD PAPERS

Several hundred letters, including some correspondence with Greene (1973–90), and with friends, literary associates and publishers; articles and photographs; and extensive materials relating to Shirley Hazzard’s book Greene on Capri: A Memoir (2000), including typed manuscripts and proof copies. GRAHAM GREENE/PEDRO M. LOPEZ (CORTEZO) COLLECTION

(1981–9): seven typed letters to Lopez. GREENE/MARJORIBANKS COLLECTION

Correspondence and Manuscript (1985–9): nine letters Sir James Marjoribanks, three letters from Marjoribanks to Greene, one from Marjoribanks to The Scotsman; and the original autograph manuscript of Greene’s essay ‘A Weed Among the Flowers.’

JAMES GREENE PAPERS

THE ALAN REDWAY PAPERS ANDAND

Correspondence

ALAN REDWAY PAPERS ADDENDUM

(1960–90): 52 letters from Greene to his nephew James, with 36 letters from James to Graham. There is a brief foreword to the letters in a bound typescript of the entire correspondence, and some annotation, both by James.

(1949–83): 30 letters to Redway principally, or to Neil Brennan. The Addendum has further bibliographical information and letters principally connected with the research undertaken by Brennan between 1953 and 1987. 333

Washington, DC MICHAEL RICHEY PAPERS AND MICHAEL RICHEY PAPERS PART 2

(1954–91): 82 letters to Richey, plus five photographs and three letters relevant to Greene from Shirley Hazzard to Richey. THE SMULLYAN COLLECTION

Graham Greene Correspondence with Gloria Emerson (1977–91): 42 letters, one postcard and two telegrams.

Miscellaneous Correspondence Nine handwritten letters from Paul Hughes and Robert Graves to Greene. All are undated but the content suggests the Hughes’ letters were probably written 1932–3 and Graves’ letters 1925–6.

Other material in the Smullyan Collection Loser Takes All (1955): proof copy of the short novel, with differences from the published text. Our Man in Havana (12 January 1959): screenplay by Greene. Our Man in Havana (1963): opera libretto and published libretto and score of the Malcolm Williamson opera. ‘Goa the Unique’ (1 March 1964): original ten-page typescript of the travel piece, with corrections by Greene and with his note on the first page ‘Before Hon. Consul.’ ‘The Dangerous Edge: Allende’s Chile 1971’: original 11-page typescript, with revisions by Greene, published in 1972 as Chile: The Dangerous Edge. The Return of A. J. Raffles (1975): copy of the first rehearsal script (that

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of Clive Francis, who played Bunny in the first production), and theatre programme for the Aldwych Theatre production. ‘The Country with Five Frontiers’ (17 February to 27 March 1977): original 17-page typescript, corrected by Greene, of the article on Panama. Introduction to The Bachelor of Arts by R. K. Narayan (July 1978): Greene’s introduction to the reissue of this 1937 novel: a carbon copy of the typed first draft, a top copy of this amended by Greene and a typed second draft. Introduction to It’s a Battlefield and letter to Peter Howard: undated fourpage typed introduction to the novel, first published in the USA in 1962 and in the UK in 1970 and reprinted in Ways of Escape; and a letter (1981) to a US book dealer in answer to a query. ‘On the Way Back: A Work not in Progress’ (26 July 1981): original typescript revised by Greene of a story originally published in 1982 and later collected under the title ‘An Appointment with the General’. Yes and No (undated): 16-page photocopied play script with corrections and revisions by Greene, with three further pages, one with authorial amendments; the play was first performed in 1980. Preface to Pursuits and Verdicts by Herbert Read (12 September 1983): two typed pages, plus four proof versions. Getting to Know the General: unbound publisher’s mock-up of the 1984 memoir. ‘The Nuclear Umbrella’ (December 1986): autograph signed draft of Greene’s letter to The Times about the Chernobyl disaster.

Wheaton, Illinois

The Power and the Glory (undated): play script by Dennis Cannan and Pierre Bost, from the Greene novel. National Film Theatre programmes: a four-page brochure briefly mentioning Greene’s appearance at the British NFT in the John Player Series, and a 44-page brochure including coverage of the season of 23 Greene films at the NFT (September 1984), with an introduction by Quentin Falk and details of Greene’s appearance at the Guardian Lecture on 3 September. For Whom the Bell Chimes (undated): 59-page typed play script of three Acts, with amendments by Greene and a different ending to the published play. CHRISTOPHER SYKES PAPERS

Box 5 Folders 20–22 (1967–75): 13 letters to Sykes, plus some news clippings and articles. BERNARD AND BARBARA WALL PAPERS I AND II

Papers I Box 1, Folders 8–12: five letters from Greene (1940, 1946, 1965), and five letters and two photographs from Vivien Greene. Papers II: a further letter from Graham Greene (1978).

THE GREENE COLLECTION OF W.J. WEST

An eclectic range of materials collected by West in researching his 1997 book The Quest for Graham Greene  – two books; 27 photographs, mostly stills from Greene films and plays; eight play programmes; the Independent on Sunday Review, 7 April 1991, on Greene; photocopies of typescripts of Getting to Know the General, The Captain and the Enemy and Monsignor Quixote; copies of Greene’s letters to book dealer David Low, and Low’s replies; nine letters and four prospectuses for the 1989 volume Dear David, Dear Graham; two reel to reel tapes of BBC interviews of Greene by Ossia Trilling in December 1975; and promotional material for the 1953 film of The Heart of the Matter.

Wheaton, Illinois WHEATON COLLEGE: Buswell Library: Special Collections

library.wheaton.edu/ MALCOLM MUGGERIDGE PAPERS SC-004 (1965–c.1985): 15 letters, one postcard and one telegram; five letters to Greene, text of two articles on Greene.

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Archives in Canada Hamilton, Ontario MCMASTER UNIVERSITY: Mills Memorial Library: William Ready Division of Archives and Research Collections

library.mcmaster.ca/ GEORGE EDWARD GORDON CATLIN COLLECTION Box 154 (1940 and 1951): three letters. GABRIEL FIELDING COLLECTION Box 12 (1952–4): ten letters. JAMES KING COLLECTION Boxes 1, 2 and 5 (1987–8 and undated): four letters.

Toronto, Ontario UNIVERSITY OF TORONTO: Thomas Fisher Rare Book Library: Manuscript Collections

fisher.library.utoronto.ca/

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RONALD BRYDEN PAPERS MS Coll 00548: Box 1, Folder 7 (1964–6): seven letters. JOSEF ŠKVORECKÝ PAPERS MS Coll 144: Box 62, Folder 8: around 50 letters to Škvorecký (1966–73); one letter from Greene to TASS (1973); two letters from Škvorecký to Greene (1972 and 1973); text of interview by Škvorecký of Greene, 1971.

Victoria, British Columbia UNIVERSITY OF VICTORIA: McPherson Library Special Collections

www.uvic.ca/library/locations/home/ mearns/ JOHN BETJEMAN COLLECTION SC015 (1933–48): 33 letters and one telegram. BROCARD SEWELL COLLECTION SC112 (1963): one letter to the literary critic and editor.

Index

Where appropriate, entries in bold indicate an introductory entry.

I: INDEX OF GREENE’S WORKS A. Published works: Dates given refer to the first UK publication, except where otherwise stated.  ‘Across the Border’ (1947)  51, 106 ‘Across the Bridge’ (1947)  23, 97, 259 ‘Address on receipt of the Shakespeare Prize’  see ‘The Virtue of Disloyalty’ ‘Advice to a Friend’ (1977)  136 After Two Years (1949)  61, 187, 191, 223–4, 228, 231 ‘Against Compromise’ (1972)  281 ‘Alas, Poor Maling’ (1947)  156 ‘All But Empty’ (1947)  108, 229 ‘Appointment with the General, An’  see  ‘On the Way Back: A Work not in Progress’ Article for the Philippines Literaturanag Gazette (1985)  215 Articles of Faith: The collected Tablet journalism of Graham Greene (2006)  126 ‘Ashridge Park: “That Goodly Place”’ (1927)  40 ‘Aspects of Overseas Life: Walking in Ireland’ (1923)  316 ‘The Assumption of Mary’ (1950)  272, 316 Authors Take Sides on Vietnam (comments: 1967)  177, 205, 258 ‘Awful When You Think of It’ (1957)  77, 169, 312 Babbling April (1925)  24, 112, 131, 164, 175, 191, 226, 239, 258 ‘The Basement Room’ (1935)  28, 74, 87, 259 ‘Beauty’ (1963)  14, 272, 312 ‘The Blessing’ (1966)  23, 258, 313

Book Reviews  172, 229, 280, 286, 318–19, 328 ‘The Branch of the Service’ (1990)  169, 313 Brighton Rock (1938)  2, 15, 26, 62, 83, 100, 104, 105, 106, 107, 108, 121, 138, 151, 167, 188, 272, 308, 317 A Burnt-Out Case (1961)  5, 43, 50–1, 62–3, 75, 86, 98, 101, 108–10, 127, 136, 149, 151, 159, 204, 217, 229, 243, 267, 272, 284, 309, 314, 315, 317 The Captain and the Enemy (1988)  22, 39, 43, 44, 110, 152, 207–10, 262, 264, 309, 329, 335 Carving a Statue (1964)  17, 36, 41, 73–4, 93, 135, 150, 152–3, 181, 203, 215–16, 230, 262, 272, 274, 309, 314, 328, 332 ‘Chagrin in Three Parts’ (1966)  272, 313 ‘A Chance for Mr. Lever’ (1935)  104 ‘Cheap in August’ (1964)  86, 87, 230, 272, 313, 314 ‘Chile: The Dangerous Edge’ (1972)  79–80, 82, 272, 286, 334 ‘Church Militant’ (1956)  35, 188, 313 ‘La Civilisation Chrétienne est-elle en Péril?’ (published in France 1948; in English as ‘The Last Pope’ 1973)  230 Collected Edition (German)  5, 59, 62, 65, 66, 69, 70, 72, 76, 153, 271–5, 277–81 Collected Edition (UK)  5, 15, 36, 48, 56, 59, 62, 64–7, 69–72, 74, 76, 117–18, 153, 184–5, 239, 262, 268, 272–80, 282, 286, 309, 314–17, 322 Collected Essays (1969)  74, 153–4, 263, 273, 309 Collected Stories (1972)  37, 59, 74, 273, 313, 314, 315 The Comedians (1966)  25, 51, 63–5, 89, 90, 99, 103, 122, 129, 154, 158, 215, 216, 231, 244, 262, 273, 285, 309, 317 The Complaisant Lover (1959)  50, 74–5, 138, 154–5, 183, 229, 231, 273, 309, 316, 322

Index

‘Confessions of a Reformed Film Critic’  see ‘Last Days of the Pleasure Dome’ The Confidential Agent (1939)  65, 121, 189, 260, 273, 309 ‘Congo Journal’ (1961)  75, 108–10, 136, 217, 276, 284 ‘A Constant Question Mark’ (1987)  169, 218, 313, 330 ‘Convoy to West Africa’ (1946)  75, 104, 273, 276 ‘The Country with Five Frontiers’ (1977)  129, 171–2, 272, 317, 334 ‘A Day Saved’ (1934)  54, 267 Dear David, Dear Graham (1989)  195 ‘Dear Dr Falkenheim’ (1963)  273–4 ‘Death of a Widow’s Son’ -  see ‘The Second Death’ ‘Decision in Asia: The Battle of Dien Bien Phu’ (1963)  274 ‘The Destructors’ (1954)  274 ‘A Discovery in the Woods’ (1963)  14, 78, 281 ‘Doctor Crombie’ (1965)  14, 274 Doctor Fischer of Geneva or The Bomb Party (1980)  19–22, 100, 125, 155, 185, 210, 246, 257, 260, 268, 286, 309, 322 ‘Dream of a Strange Land’ (1963)  14, 78, 170, 281 The Empty Chair (2008–11)  75, 274 The End of the Affair (1951)  2, 15, 16, 65–6, 97, 155, 189, 197, 221, 225, 229, 258, 272, 274, 309, 317, 322 ‘The End of the Party’ (1932)  92 England Made Me (1935)  16, 45, 50, 51, 58, 66, 117, 122, 134, 155–6, 158, 186–7, 195, 224, 260, 274, 310, 317 ‘Epitaph for a Play’ (1964)  36, 185, 203, 262, 274, 328 Essais Catholiques (published in France 1953)  156, 310 ‘Extract from “Toll No Bells” by Graham Greene’ (New Statesman Weekend Competition 1,621) (1961)  90, 281 The Fallen Idol (1950)  168, 185, 312, 314 ‘The Fall of Dien Bien Phu’  see ‘Decision in Asia’

338

‘A Few Pipes’ (1954)  71 Film reviews  27, 59, 80 For Christmas (1951)  61, 191, 223–4, 225, 231 For Whom the Bell Chimes (1983)  156, 202–3, 218, 246, 268, 310, 328, 329, 335 ‘Freedom of Information’ (1984)  317 ‘Freedom of Thought’ (1981)  204, 328 ‘The French Peace’ (1924)  318 Getting to Know the General: The Story of an Involvement (1984)  32, 41, 126, 128, 130, 140, 171, 173, 202, 209, 213, 214, 219, 244, 262, 268, 318, 328, 334, 335 ‘Goa the Unique’ (1964)  274, 334 ‘Going into Europe’ (1963)  316 Graham Greene: A Life in Letters (2007)  233 Graham Greene Film Reader: The Mornings in the Dark (1993)  27, 80 ‘Graham Greene Revisits the Soupsweet Land’  see ‘The Soupsweet Land’ The Great Jowett (1981)  54, 56, 170, 265, 267, 268, 314 ‘The Great Spectacular’ (1978)  171–2, 274, 317 A Gun for Sale (1936)  31, 66, 83, 121, 156–7, 260, 275, 284, 287, 310, 314, 317 ‘The Harz Mountains Story’  see No Man’s Land The Heart of the Matter (1948)  2, 5, 15, 29, 42, 58, 66–7, 75, 97, 119, 126, 157, 186, 188, 199, 221, 228, 229, 230–1, 259, 260, 275, 310, 335 ‘Heroes are Made in Childhood’ (1947)  55, 230 ‘Her Uncle Versus His Father’  see ‘When Greek Meets Greek’ ‘The Hint of an Explanation’ (1949)  108, 186 The Honorary Consul (1973)  22, 36, 67–8, 103, 110, 123, 129, 133, 134, 151, 157–8, 173, 189–90, 202, 234, 244, 257, 260, 262, 275–6, 286, 310 ‘How Father Quixote became a Monsignor’ (1978)  23, 161, 183, 202, 238, 258, 319, 322, 332 The Human Factor (1978)  20, 26–7, 56, 68–9, 87, 102, 111, 124, 129, 130, 143, 158–9, 185, 191, 206, 209, 210, 232, 237, 246, 259, 260, 263, 268, 276, 286, 310, 314

Index

Impossible Woman, An: The Memories of Dottoressa Moor of Capri (editor’s note and epilogue: 1975)  36, 75, 100, 113, 132, 175, 234–6, 244, 263, 276, 285, 319, 332 ‘An Impossibly Bad Hotel’ (1985)  100, 172, 318 ‘An Incident in Sinai’ (1967)  276 ‘The Innocent’ (1946)  105 In Search of a Character: Two African Journals (1961)  75, 114, 217, 276, 315, 318 Interviews  99, 148, 180, 202, 245, 259, 328 Introductions, prefaces and forewords to the works of others  29–30, 38, 52, 131, 136, 143, 172, 178, 180, 192, 193, 195, 203, 206, 218, 229, 272, 276, 279, 317, 319, 320–8, 330, 334 Introductions to Greene’s Collected Edition  5, 62, 65, 66, 69, 70, 71, 72, 74, 117–18, 153, 184–5, 263, 272–3, 275, 277–82, 286, 309, 316–17, 322, 334 Introductions to Three Novels (1962)  332 ‘The Invisible Japanese Gentlemen’ (1966)  276 ‘I Spy’ (1935)  240, 267 It’s a Battlefield (1934)  15, 58, 69, 83, 118, 182, 193, 243, 258, 276, 285, 310, 317, 334 J’Accuse: The Dark Side of Nice (1982)  22, 38, 39, 56–7, 112–13, 139, 173, 202, 242, 263, 268, 285, 318, 328 Jim Braddon and the War Criminal (1985)  118, 159, 212, 286, 310, 329 ‘John Hayward, Book Collector’ (1965)  276 ‘The Joke That Went Wrong’  see ‘A Thorn on the Yellow Rose’ Journey Without Maps (1936)  16, 17, 24, 75, 97, 105, 111, 145, 153, 213, 231, 258, 268, 273, 277, 317, 318 ‘Last Days of the Pleasure Dome’ (1972)  317 ‘The Last Decade’ (1984)  215–17, 330 ‘The Last Pope’  see ‘La Civilisation Chrétienne est-elle en Péril?’’ ‘The Last Word’ (1988)  313 The Last Word and Other Stories (1990)  40, 116, 130, 135, 169, 313 The Lawless Roads (1939)  76, 105, 121, 136, 225, 267, 268, 273, 277, 316, 317 ‘Letter to a West German Friend’ (1963)  316

‘The Lieutenant Died Last’ (1940)  46, 106, 127, 258, 260 ‘The Lines on the Palm’ (1974)  277, 286, 317 The Little Fire Engine (1950)  34, 97, 159, 189, 267, 314, 332 The Little Horse Bus (1952)  34, 76, 277, 314 ‘A Little Place off the Edgware Road’ (1947)  107, 229, 240 The Little Steamroller (1953)  34, 76, 277, 314 The Little Train (1946)  34, 76, 170, 267, 277, 314 The Living Room (1953)  23, 27, 41, 96, 104, 134, 159–60, 163, 196, 230–1, 259, 267, 277, 310–11, 315, 322 ‘London Diary’ (1952)  316 ‘The Londoners: Notes from a Journal of the Blitz, 1940–41’ (1952)  165, 187, 245 Lord Rochester’s Monkey: Being the Life of John Wilmot, Second Earl of Rochester (1974)  16, 42, 76–8, 173–4, 268, 277, 280, 318 Loser Takes All (1955)  2, 23, 69, 72, 86, 122, 160–1, 190, 229, 230, 258, 272–3, 276, 277, 282, 311, 317, 334 ‘The Lost Childhood’ (1951)  154, 230 The Lost Childhood and Other Essays (1951)  230, 263 ‘The Lottery Ticket’ (1947)  108 ‘The Lotus Land’  see ‘The Worm Inside the Lotus Blossom’ ‘Magic’ (1922)  313 ‘The Man as Pure as Lucifer’ (1955)  85 ‘The Man who Stole the Eiffel Tower’ (1956)  35, 80, 277 The Man Within (1929)  7, 24, 57, 69–70, 92, 133, 161, 174, 184, 239, 242, 258, 260, 278, 283, 311 ‘May We Borrow Your Husband?’ (1962)  26, 56, 124, 161, 260, 277, 311 May We Borrow Your Husband? and Other Comedies of the Sexual Life (1967)  35, 56, 74, 77, 161, 166, 169, 215, 263, 277, 313 ‘The Meeting in the Kremlin’ (1990)  40 ‘A Memory of Indo-China’ (1955)  267 ‘Men at Work’ (1941)  74, 81, 271 The Ministry of Fear (1943)  70, 106, 107, 172, 181, 231, 278, 311, 314, 315, 317

339

Index

‘The Moment of Truth’ (1988)  135, 278, 313 Monsignor Quixote (1982)  18, 23, 41, 103, 126, 147, 161–2, 174, 202–3, 209, 236, 238–9, 268, 286, 311, 314, 322, 328, 332–3, 335 ‘The Monster’s Treasure’ (1985)  34, 77, 116, 262, 278 ‘The Monster of Capri’ (1985)  34, 77, 116, 262, 278 ‘Mortmain’ (1963)  14, 278, 313, 322 ‘The Mother of God’  see ‘The Assumption of Mary’ ‘Mr Visconti’ (1969)  36, 258 ‘Murder for the Wrong Reason’ (1929)  313 ‘My Girl in Gaiters’  see ‘Work Not in Progress’ The Name of Action (1930)  16, 24, 31, 70, 108, 110–11, 112, 133, 168, 185, 191, 199, 239, 258, 278, 312 ‘The New House’ (1923)  116, 319 ‘The News in English’ (1940)  106 ‘Nightmare Republic’ (1963)  63, 80, 278, 286 Nobody to Blame (1985)  97, 159, 212, 310, 329 No Man’s Land (1993)  29, 77, 80, 97, 157, 259, 278 ‘Nordhal Grieg A Personal Note’ (1944)  279, 316 ‘The Novelist and the Cinema’  see ‘The Writer and the Cinema – A Personal Experience’ ‘Oberammergau’ (1930)  316 ‘An Old Man’s Memory’ (1989)  169, 313 The Old School: Essays by Divers Hands (ed., preface and essay: 1934)  16, 251 ‘On the Way Back: a Work not in Progress’ (1982)  169, 202, 203, 313, 328, 334 ‘The Other … Whom Only Others Know’ (1975)  278, 286, 317 Our Man in Havana (1958)  15, 50, 70–1, 86, 98, 100, 114, 122, 123, 162, 201, 242, 246–7, 278–9, 283, 311, 315, 317, 334 ‘Out of the Dustbin’ (1988)  218, 313, 330 ‘The Overnight Bag’ (1965)  278 ‘The Paradox of Christianity’ (published in France 1951)  317 ‘Pius XII: The Paradox of a Pope’ (1951)  279, 316

340

The Pleasure-Dome: The Collected Film Criticism 1935–40 (1972)  37, 67, 77, 162–3, 279, 311, 317 ‘The Pleasures of Deportation’ (1974)  279, 286, 317 Poems  80, 83–4, 112, 175–6, 187, 221–4, 266, 274–5, 281, 282, 284, 319, 328 ‘The Poet and the Gold’ (1974)  279, 317 ‘Poetry by Wireless’ (1925)  19 ‘The Pope Who Remains A Priest’  see ‘Pius XII: The Paradox of a Pope’ The Portable Graham Greene (1973)  163, 311 The Potting Shed (1958)  41, 45, 50, 56, 77, 81, 100, 115, 127, 134, 150, 163, 230, 279, 311, 322 The Power and the Glory (1940)  17, 48, 58, 71, 106, 121, 122, 125, 127, 136, 138, 163–4, 188, 189, 193, 216, 220, 236, 242, 244, 259, 260, 264, 279, 286, 311, 315, 322, 333, 335 ‘Prague 1948’  see ‘Revolutionary Bystander’ ‘Preface’ (New Statesman Competition 1,850) (1965)  90, 281 A Quick Look Behind: Footnotes to an Autobiography (1983)  164, 203, 223, 311, 328 The Quiet American (1955)  2, 45, 58, 71, 86, 97, 122, 137, 141, 153, 164, 189, 200–1, 229, 231, 260, 267, 279–80, 284, 312, 314, 315 Radio talks, discussions and interviews:  54–5, 170, 230, 267, 314–16 ‘A Really Impossibly Bad Hotel’  see ‘An Impossibly Bad Hotel’ Reflections (1990)  39–40, 101, 135, 165, 218, 263, 312, 330 ‘Reflections on the Character of Kim Philby’ (1968)  316 ‘Reflections on Travels with My Aunt’ (1989)  242 ‘Regina vs Sir James Barrie’ (1969)  171, 280, 316 ‘Retour a Freetown: Un récit de Graham Greene’  see ‘The Soupsweet Land’ The Return of A.J. Raffles (1975)  77, 94, 134, 140–1, 165–6, 232, 242, 263, 268, 280, 282, 312, 315, 332, 334

Index

‘Return of the Novelist’ (1966)  45 ‘Return to Cuba’ (1963)  280 ‘The Revenge’ (1954)  35, 169–70, 280, 332 ‘Revolutionary Bystander’ (1974)  279, 318 ‘The Revolver in the Corner Cupboard’ (1946)  79, 80, 230, 280 ‘The Root of All Evil’ (1964)  14, 230, 280–1, 313 ‘The Rude Mechanicals’ (1964)  280 Rumour at Nightfall (1931)  22, 71, 92, 108, 110–11, 112, 133, 168, 185, 191, 239, 280, 312

The Third Man (film script: 1968)  28–9, 72, 167–8, 205, 259, 260, 282, 312 ‘A Thorn on the Yellow Rose’ (1974)  165, 266, 276 Travels with My Aunt (1969)  26, 36, 72–3, 120, 122, 134, 138, 168, 202, 215, 234, 236, 243, 250, 263, 280, 282, 287, 312, 314, 315 ‘The Trial of Pan’ (1923)  313 Twenty-One Stories (1954)  74, 313 ‘Two Gentle People’ (1967)  80–1, 169, 260, 282, 313

‘The Second Death’ (1947)  80, 108, 274 ‘Secrets’  see ‘The Root of All Evil’ ‘Security in Room 51’ (1963)  281, 317 A Sense of Reality (1963)  35, 56, 74, 78, 87, 90, 169–70, 263, 281, 313, 314, 315 Shades of Greene (1975)  37, 56, 59, 82, 150, 240, 263, 268, 322 The Shipwrecked  see England Made Me ‘A Shocking Accident’ (1957)  77, 166, 260, 267, 281, 312 ‘The Short Stories’ (of Walter de la Mare: 1948)  229 ‘Something of the Angel yet Undefac’d’ (1974)  317 A Sort of Life (1971)  18, 36, 57, 67, 78–9, 86, 99, 100, 117, 126, 173–4, 183–4, 192, 217–18, 268, 281, 314, 315, 316, 318, 322, 330 ‘The Soupsweet Land’ (1968)  78, 171, 179, 316 ‘Special Duties’ (1954)  188 Speech on receiving the Jerusalem Prize  see ‘Freedom of Thought’ The Spy’s Bedside Book (joint ed. and introduction: 1957)  175, 240, 281, 319 Stamboul Train (1932)  57, 71–2, 92, 101, 104, 111, 257, 273, 281, 312, 317 The Stranger’s Hand (1993)  80, 97, 119, 166, 225, 272, 281, 286, 312 ‘A Stranger in the Theatre’ (1953)  229

‘Under the Garden’ (1963)  35, 78, 90, 169, 281–2

The Tenth Man (1985)  38, 72, 107, 118, 139, 159, 166–7, 202, 211–12, 219, 263, 268, 282, 312, 328, 329–30 The Third Man (1950)  48, 72, 74, 108, 117, 118, 124, 144, 167–8, 211, 229, 244, 273, 282, 286, 312, 317

Victorian Detective Fiction: A Catalogue of the Collection made by Dorothy Glover and Graham Greene (preface: 1966)  61–2, 115, 183, 193–4, 256, 285, 322, 325, 328 Victorian Villainies (selection: 1984)  240, 268 The Virtue of Disloyalty (1972)  73, 79, 171, 263, 271, 282, 317 ‘A Visit to Morin’ (1957)  78, 258, 281, 322, 332 ‘A Visit to Poland’ (1956)  281 ‘Vive Le Roi’ (1938)  316 ‘Walter de la Mare’s Short Stories’ (1948)  229 Ways of Escape (1980)  5, 20, 72, 85, 118, 165, 168, 174, 184–5, 201, 207, 217, 221, 268, 312, 317, 318, 322 ‘A Weed Among the Flowers’ (1985)  124, 172, 242, 317, 318, 333 ‘When Greek Meets Greek’ (1941)  106, 313 ‘While Waiting for a War’ (1985)  211, 212–13, 220, 330 Why Do I Write? (1948)  316 Why the Epigraph? (1989)  63, 172, 318 ‘Work Not in Progress’ (1955)  125, 130, 169, 230, 314 A World of My Own: A Dream Diary (1992)  23–4, 40, 93–4, 134, 174–5, 233, 258, 263, 318–19 ‘The Worm Inside the Lotus Blossom’ (1969)  277, 286, 316–17

341

Index

‘The Writer and the Cinema – A Personal Experience’ (1958)  281 Yes and No (1983)  79, 116, 156, 246, 266, 268, 281, 310, 322, 334 ‘The Young Dickens’ (1950)  317 Yours Etc.: Letters to the Press 1945–89 (1989)  38–9, 101, 118, 173, 263, 328

B: Unpublished works: Dates given refer to dates of composition, where known.  Address at Edinburgh University (1967)  82, 271 ‘Alas! Poor Maling’ (television script: 1974)  82, 271 Anthony Sant  see Prologue to Pilgrimage ‘Apologia’ (1974–87)  39, 152, 208–10, 262, 309, 329 ‘An Aspect of Autobiography’ (c. late 1940s)  228 ‘A Birthday in October’ (1964)  82, 117, 272, 286 ‘Black Book’ for Catherine Walston (1947–52)  222–4, 227–8, 331 ‘The Book is furnished by the Gideon’s’ (undated)  91 Brighton Rock (film script: 1946–7)  32–3, 62, 124, 151, 244, 259–60, 261, 272, 308–9 ‘A Christmas Broadcast by Henry II’ (1970)  82, 272 The Clever Twist: A Melodrama in Three Acts (decade after 1953)  82, 272 The Comedians (film script: 1966)  64–5, 104, 134, 154, 230, 234, 273, 282, 322 Commonplace Books for Father Durán (1977– 84 and 1976–89)  237–8, 332 Date Books 1957–1977  92, 282 ‘Defence of South Hinksey Area’ (1941)  228 ‘The Defenders’ (1940–1)  85, 165, 276 Diaries and Journals  Argentina, Paraguay (1970)  202, 328 Argentina, Uruguay, Paraguay, South Africa (1968)  200, 328 Bombay journal (undated)  86, 277

342

Cuba (1954, 1957, 1966)  200, 201–2, 328 ‘The Dangerous Edge’ (Chile diary: 1971)  82, 273 Diaries (1932–3)  91–2, 282 Dream Diaries (1964–86)  93–4, 282 Haiti (1954)  200, 328 Haiti (1963)  63 ‘Indo-China Diary’ (c.1955)  84–5, 276 Israel, Sierra Leone, Eastern Europe (1967)  202, 328 Kenya (1953)  200, 328 ‘A Mexican Diary 1938’  225 Mexico and Cuba journal (undated)  86, 277 Panama (1976, 1977)  200, 202, 328 Panama (1985)  43, 264 Panama, Nicaragua, Russia, London, Spain (1984–7)  43–4, 264 Poland (1956)  200, 328 Saigon journal (c.1962–3)  86, 277 USA and Malaya (1951)  200, 328 Vietnam (1951, 1952, 1954, 1956)  200–1, 328 Diaries for Catherine Walston (1949–55)  224–5 ‘During the Second Siege of London’ (1944)  85–6, 277 The Episode (1925–6)  133, 146–7, 226–7 Essay on Maria Newall (1953–4)  81, 271 Essays  91, 137, 279 The Fallen Idol (film script: 1947)  28, 244, 259 Fanatic Arabia (c.1927–8)  51, 83, 274 ‘Foreword to a Wine Catalogue’ (undated)  204, 328 ‘For Vivienne: A Private Book’ (1926–32)  83– 4, 222, 274 For Whom the Bell Chimes: postscript (c.1983)  330 ‘Four Dark Hours’  see The Green Cockatoo Gestapo in England (radio script: 1942)  55, 267 ‘Greetings to Russia on 40th Anniversary of the Revolution’  see ‘On the 40th Anniversary of the Russian Revolution’ The Green Cockatoo (story and scenario: 1936–7)  22, 105, 260 The Heart of the Matter (stage version: 1949–50)  46, 67, 97, 108, 159, 197, 228, 265, 322

Index

‘Henry James rewriting Fanny Hill’ (mid- to late 1940s)  228 Horror Comic (1956)  84, 274 A House of Reputation (1986)  41, 43–4, 84, 118, 158, 210–11, 275, 310, 329 ‘A Hundred Yards from Piccadilly’  see ‘The Strange West End’ ‘Intervention in Paris – at meeting at Sorbonne’ (undated)  219, 330 Interviews  180, 220, 326, 331 ‘Introduction (to an Autobiography)’ (c.1968–9)  217–18, 330 ‘Journey in the Dark’ (1935)  76, 277 ‘The Liberian Mask’ (1935)  104 ‘Limited Edition’ (1948)  227–8 The Living Room (film script: undated)  27, 76, 259 Loser Takes All (film script: 1955)  130, 160–1, 260 Lucius (c.1956–8)  51, 86–7, 277, 283 A Man of Extremes (1963)  89–90, 281 ‘A Man You Can Trust’ (late 1930s)  227 ‘The Marquis de Bolibar’ (undated)  44, 158, 264 ‘Meditation 109’ (c. 1964)  228 ‘Miss Mitton in Moscow’ (synopsis: 1936)  105 ‘Mr Conway’s Congress’ (1962)  35, 87, 169, 278 ‘Mr Thurlow’s First Case’ (undated)  228 ‘Never, Never continued’ (c.1952)  87–8, 278 New Statesman Competition 2,233 (1972)  94 ‘New Statesman Weekend Competition 2,116’ (1970)  88, 278 ‘Nicaragua: A Personal View’ (undated)  213 Notebook (1936 and other dates)  93, 282 Notes and Dance Card (1926–76)  94, 282 ‘Occasional Verse 1927–1940’ (1983)  203, 220, 328 Oh Damn Your Morality! (undated)  88, 278 ‘On Being Painted’ (undated)  218, 330 ‘On the 40th Anniversary of the Russian Revolution’ (1957)  84, 274

‘Opium in Albany’ (undated)  204, 328 Our Man in Havana (film script: 1958–9)  70–1, 246–7, 279, 322, 334 ‘Paper on General Views and Opinions’ (c.1926–8)  91 ‘Passage to West Africa Journal’ (1941–2)  75 ‘A Personal Impression’ (undated)  141, 204, 220, 328 ‘Places’ etc. (1964)  91, 279 A Play (untitled) (undated)  328 Poems  40, 83–4, 87, 88, 90, 95, 203, 221–4, 227, 237, 274–5, 278, 279, 281 Postscript to For Whom the Bell Chimes (c.1983)  330 Prologue to Pilgrimage (1924)  88, 94, 133, 183, 226, 279 ‘Publishers’ Association Speech’ (undated)  219, 330 Radio talks, discussions and interviews:  19, 54–5, 108, 170, 267, 314–16 ‘Reading at Night’ (1962)  14, 87, 88–9, 280 Saint Joan (screenplay: 1956–7)  89, 120, 281, 286 Speech in thanks for receiving honorary citizenship of Anacapri (1978)  204, 328 ‘The Strange West End’ (undated)  84, 274 ‘Synopsis for Play’ (1948)  228 ‘Table Talk’ (1942–3)  90, 282 Twenty-One Days (film script: 1937)  46, 260, 265 Under the Garden blurb (1962)  282 Untitled autobiographical fragment (undated)  192–3, 217 Untitled fragments – two in number (both undated)  228 Untitled story (1) (perhaps 1940s)  81, 271 Untitled story (2) (1940)  81, 271 Untitled story (3) (undated)  120–1, 287 ‘Week-end Competition 1,709’ (New Statesman: 1963)  90, 281 The Word Pterodactyl (1963)  89, 281

343

Index

II: GENERAL INDEX The long list of Greene’s correspondents at Boston College, catalogued in the Part 2 Listings of this book, is not repeated here; that list should be regarded as a supplement to this general index. Abercrombie, Lascelles  227 Achill Island  119, 230 Acton, Harold  19, 123–4, 242, 287 Adam International Review  44–5, 134, 264 Adamson, Judith  39–40, 118, 163, 218, 263, 311 Afghanistan  144, 206 Aiken, Conrad  326 Alberta  50 Albery, Donald  160 Aldington, Richard  29, 44–5, 131, 193, 261, 264, 325 Alexandra, Princess  61 Alfred A. Knopf, Inc.  108, 174, 284 Algeria  136–7 Algiers  139 Allain, Marie-Françoise  147–8, 202, 233, 267, 287 Allain, Yves  12 Allen, Allinda  260 Allen, Walter  267 Allende, Salvador  82, 140, 165, 176, 190, 196 Allott, Kenneth  49 Amalrik, Andre  143 Amate Press  29 Ambler, Eric  108, 280 American Academy  94, 205–6, 256, 329 Amis, Kingsley  120, 249 Amis, Martin  14 Ampleforth  149, 222 Anacapri  18, 24, 30, 41, 68, 124, 194, 222, 223, 229, 241, 244 Anglo-Texan Society  49, 53, 165, 266 Annakin, Ken  160, 260 Anouilh, Jean  183, 322 Antibes  13, 20, 21, 25, 26, 43, 63, 102, 104, 114, 125, 141, 149, 150, 202, 208, 210, 216, 220, 232, 233, 236, 238, 244, 245–6, 248, 320 Arango, Jorge  143 Arden, John  249

344

Argentina  21, 24, 51, 103, 143, 172, 190, 200, 202, 215, 234, 328 Aristotle  237 Arnold, Matthew  6, 216 Ashover  274 Assam  319 Asturias  44 Asunción  73 Athens  31 Atlantic Monthly  245 Attenborough, Charlotte  124 Attenborough, Richard  107, 124, 151, 246, 259, 287 Auden, W. H.  73, 124, 224, 287 Austin, David  331 Australia  26, 99, 100 Austria  115, 319 Badajoz  238 Baddeley, Hermione  107 Baku  142 ‘Baxter’  90 Balcon, Michael  107, 258 Balfour, Patrick  326 Ballard, J.G.  125, 261 Bangkok  110, 113, 165, 194 Bantam Books  123 Banville, John  39 Baptiste, Fred  103 Barlow, Geoffrey  139 Barnes, Julian  283 Barnet, Miguel  267 Barnsley, Alan  249 Barrie, J. M.  171 Barry, John  26, 151 Bartlett, Vernon  115 Basil Blackwell  226 Bason, Fred  115 Bath  234 Bathurst, David  165 Batista, President  201 BBC  18, 19, 30, 48, 53–6, 100, 105, 106, 135, 141, 150, 155, 186, 239, 247, 266–7, 314–16, 335 Beaton, Cecil  257 Beaumont, Hugh ‘Binkie’  153 Bedford, Sybille  101–2, 283 Belfast  177 Belize  214

Index

Bell, Neil  131 Belmont, Georges  158 Benenson, Peter  267 Bennett, Arnold  92 Bennett, Rodney  239 Bentley, Nicholas  115 Ben Tre  136 Bepton  234 Berkhamsted  25, 30, 57, 69, 78, 83, 86, 88, 120, 128, 149, 174, 186, 207, 210, 234, 239, 241, 271, 279 Berkhamstedian  175 Berkman, Edward O.  260 Berlin, Isaiah  206 Berlin  239, 333 Bernanos, Georges  134, 280 Berryman, John  280 Best, Marshall  122–3 Bethlehem  202 Betjeman, John  251, 336 Bevin, Ernest  165 Biche, Marie  4, 23, 146 Bick, Jerry  26 Birmingham, George  60, 118, 208–9 Birtchnell, Percy  186 Bischoff, Anthony  197–8, 231–2, 327, 331–2 Björk, Anita  6, 45, 49, 50, 51, 124, 138, 182, 188, 194, 232–3, 288, 332 Blackwell  33 Bletchley  275 Blixen, Karen  267 Blond, Anthony  38, 167, 219 Blunden, Edmund  325 Blunt, Anthony  126 Bobbs-Merrill Co.  268 Bodley Head  5, 17, 33–6, 40, 48, 56–9, 62, 74, 100, 114, 115, 140, 147, 156, 167, 171, 173–4, 196, 202, 218, 244, 267–8, 273, 291, 314, 326 Bogarde, Dirk  124, 260 Bold, Alan  18–19, 257 Bolivia  67 Bombay  86 The Bookseller  100 Borrelli, Mario  177, 331 Bost, Pierre  164, 183, 322, 335 Boston  46–7, 67, 97 Bottrall, Ronald  13, 255 Boulez, Pierre  205

Boulting, John  100, 151 Boulting, Roy  33, 100, 151, 260, 272 Bourget, (Lucy) Caroline (Greene)  3, 20, 22, 31, 50, 62, 85, 149, 194, 199, 231, 308, 332 Bourget, Andrew  20, 77 Bourget, Jonathan  20, 77 Bowen, Elizabeth  55, 108, 197, 267, 283, 316, 326 Bowen, Marjorie  55 Bowes Lyon, Elizabeth  39 Boyle, Andrew  256 Bradbury, Ray  124–5, 289 Bradley, A. C.  216 Braine, John  120 Brandis, Gabrielle  115 Brasilia  190, 320 Bray, John  115, 285 Braybrooke, Neville  283 Brazil  190, 321 Brennan, Neil  134, 243–4, 333 Brian, Mr  119–20, 286 Brighton  8, 14, 33, 41, 62, 96, 113, 141, 203, 227, 244 Bristol  8, 14, 27, 218, 234 British American Tobacco Company  33 British Council  13 Britten, Benjamin  206 Britton, Lionel  324 Brodsky, Jaroslav  267 Broke, Richard  155 Brook, Natasha  125 Brook, Peter  2, 125, 164, 183, 242, 289 Brophy, Brigid  125, 289 Brown, Margaret  332 Brown, Richard Blake  267 Brunel, Adrian  259 Brussels  280 Bryden, Ronald  165, 249, 315, 336 Buchan, John  18 Budapest  114 Buenos Aires  24, 68, 73, 99, 190 Bulgaria  98, 202 Bull, George  267 Burgess, Anthony  27, 102, 125, 170, 198, 219, 242, 283, 289, 315 Burgess, Guy  126, 165, 240 Burma  320, 322 Burns, Tom  95, 125–6, 247, 283, 289

345

Index

Burstall, Christopher  267, 314 Burton, Richard  129 Bury St Edmunds  31 Buzzati, Dino  26 Cadiz  30 Caifardini, Horacio  143 Cairncross, John  126–7, 290 Calgary  30 California  250 Calvert, Phyllis  315 Cambodia  146, 148, 177, 232, 321 Cambridge  8, 16, 31, 119 Cameroon  51, 233 Canada  1, 31, 112, 149, 184, 224 Cannan, Denis  164, 183, 322, 335 Capri  18, 25, 43, 59, 77, 96, 100, 104, 113, 116, 127, 131, 146, 227, 229, 234, 241, 244 Caraman, Philip  96, 127, 186–8, 198, 290, 323 Carpenter, Alejo  108 Carson, Peter  40 Carter, John  16, 61–2, 115–16, 181, 256, 269, 271, 285 Carver, David  143 Casey, John C.  29, 261 Cash, William  2, 221, 233 Castro, Fidel  44, 142–3, 165, 196, 198, 202, 231 Catholic Worker  247 Catlin, George  249, 336 Cavalcanti, Alberto  107, 127, 290 Cedillo, General  54, 225 Cerio, Laetitia  127–8, 290 Chaplin, Charlie  34–5, 98, 128, 261, 290, 316 Chatto and Windus  56, 57, 268 Chaucer, Geoffrey  237 Cherwell  275 Chesterfield  90 Chiapas  121 Childers, Erskine  240 Chile  79, 82, 140, 165, 176, 190, 250, 320, 321 China  30, 94, 124, 165, 176, 183, 242, 320, 322 Chipping Campden  91, 112 Chivers Audio Books  101 Chorley, Lord  176 Christie, Julie  26 Christie’s Auction House  71, 320 ‘Chuchu’ (Jose de Jesus Martinez)  43, 103, 129–30, 137, 237, 328

346

Church, Richard  283 Churchill, Clementine  237 Cinema Journal  163 Clairouin, Denyse  268 Clapham  19 Clark, Kenneth  55, 267 Claudel, Paul  213 Clodd, H. A.  131 Cloetta, Brigitte  233–4 Cloetta, Jacques  134, 233–4 Cloetta, Martine  22, 104, 112–13, 139, 155, 173, 233–4 Cloetta, Yvonne  20, 22, 23, 40, 43, 49, 50, 51, 93, 94, 96, 103, 104, 112–13, 134, 139, 152, 174–5, 181–2, 185, 186, 200, 207, 215–16, 220, 221, 233–4, 236, 266, 284, 285, 329, 332 Clough, A. H.  63 Cochrane, R. G.  109, 110, 152 Cockburn, Claud  128, 183, 291, 319 Cockburn, Patricia  14, 280 Cocteau, Jean  14 Coffee, Lenore  322 Cohen, J. M.  256 Collins, Malcolm  90 The Commonweal  313 Congo  31, 50, 75, 89, 108–10, 151, 217, 221, 309, 320 Connell, Mary  38, 261, 321 Connolly, Cyril  45 Conrad, Joseph  26, 69, 102, 108, 136, 226, 227, 234, 238, 267, 283, 326 Constantinople  122 Contras  178, 192, 214 Cookridge, E. H.  143 Cooper, Diana  128, 269, 291 Copenhagen  112, 240 Cordoba  51 Corrientes  68 Corseaux  104 Cory, Desmond  155, 260 Cotonov  234 Cotterell, Laurence  57 Courtenay, Tom  26 Cousins, Sheila  280 Coward, Noël  29, 98, 255, 323 Craddock, Malcolm  100 Craigie, Dorothy  see Glover, Dorothy Cresset Press  96

Index

The Critic  313 Crossley-Holland, Kevin  283 Crozier, Brian  267, 280 Cuba  24, 44, 86, 142, 144, 162, 165, 198, 200, 201, 206, 219, 234, 264, 320, 322, 328 Cukor, George  120, 168 Cunard, Nancy  102, 284 Czechoslovakia  30, 135, 166, 176, 250–1, 261, 316, 320, 321 Dahl, Roald  128, 291 Dahomey  103 Daiches, David  18 Daily Express  171 Daily Herald  251 Daily Mail  99, 181, 187 Daily Mirror  151 Daily Telegraph  37, 94, 118, 138, 165, 185, 198, 239, 267, 312, 313 D’Alessandro, Luciano  276 Dakar  221 Dalrymple, Ian  107 Dalton, Robin  284 Daniel, Yuli  142, 179, 250 Dannay, Frederic  116 Dante  63 Darwin, Charles  216 Davenant, John  213 David, Mack  26 Day, Douglas  261 Day-Lewis, Cecil  142 Dayrell-Browning, Muriel  191 Dayrell-Browning, Vivienne  see Greene, Vivien (Vivienne Dayrell-Browning) Dean, Basil  17, 46–7, 108, 243–4, 265 de Gaulle, General  14 de la Mare, Walter  83, 229 de Monterblant, Henry  280 Dennys, Elisabeth  4, 45, 100, 141, 149, 151, 161, 166, 240, 308, 313, 332 Dennys, Louise  40, 156, 162, 174–5, 184, 250, 318, 322–3 Dennys, Nicholas  118, 195 Dennys, Rodney  149 Desmond, Shaw  195 Diaz, Colonel  140 Dickens, Charles  63, 72 Diederich, Bernard  37, 103–4, 128–30, 262, 267, 276, 284, 292, 321

Diem, Ngo Dinh  176 Dien Bien Phu  14, 201 Dieu Vivant  119 Die Zeit  316 Donaghy, Henry J.  245 Doncaster  191 Donne, John  83 Donner, Jocelyn  see Rickards, Jocelyn Dossé, Philip  117, 119, 286 Dostoevsky, Fyodor  102 Douala  50, 233 Doubleday Publishers  267 Doughty, C. M.  83 Douglas, Kirk  101 Douglas, Lord  50 Douglas, Mitch  161 Douglas, Norman  29, 44, 59, 97, 113, 131, 193, 229, 242, 292, 324, 325 Douglas-Home, Alec  93 Douglas-Home, Charles  219 Doyle, A. Conan  276, 319 Drinan, Adam  18 Dryden, John  71 Dublin  9, 39, 60, 177, 188 Duffell, Peter  44, 155–6, 158, 159, 164, 234, 260 Duffy, Maureen  125 Duncan, Ronald  111, 284 Dunne, J. W.  93 Durán, Leopoldo  6, 41, 103, 104, 114, 131–2, 148, 162, 182, 202–3, 236–9, 292, 310, 311, 321, 328, 332–3 Duvalier, Baby Doc  128 Duvalier, Papa Doc  63, 128, 129, 319 Duvalierville  63 Eccles, David  267 Eccles, Sybil  267 Economist  94 Edinburgh  8, 17, 49, 53, 82, 242, 243 Edwards, Jorge  196–7, 326 Eggar, Samantha  27 Egypt  202 El Dieff  5, 181 Eley, Geoffrey  48 Eliot, T .S.  96, 132, 238, 292 Ellery Queen  116 Elliott, Denholm  141 Elliott, Fay  6

347

Index

Elliott, Geoffrey  6 El Litoral  68 Elmes, Guy  97, 166 El Salvador  191, 214, 321 Emece  190 Emerson, Gloria  245–6, 334 EMI  101 Encounter  53 Endo, Shusako  36, 42, 132, 292 Esquire  313 Estonia  139 Etherege, George  78 Eurographica  57, 116 Evans, Dwye  185 Eyre & Spottiswoode  13, 16, 17, 31, 32, 45, 85, 102, 107, 140, 141, 189, 193, 196–7, 228, 251, 263, 264, 268, 324, 325 Falk, Quentin  335 Falkland Islands  143 Falkner, John Meade  118 Farnhill-Rathbone, Mr  16 Federal Bureau of Investigation (FBI)  112, 146, 285, 317 Feldman, Lew  5 Feng, Hu  176 Ferguson, Jocelyn  170, 315 Fernando Po  320 Ferris, J. R.  94 Fielding, Gabriel  249, 315, 321, 336 Finland  116, 141, 250, 320 Finlay, Ian Hamilton  243 Fitt, Gerry  177 Fitzgibbon, Constantine  284 Flamingo Pictures  166 Flaubert, Gustave  165, 325 Fleming, Ian  103, 146 Florence, Aunt  79 Fonteyn, Margot  31, 132–3, 293 Forbes, Bryan  160, 259 Ford, Ford Madox  23, 34, 67, 189, 218, 262, 276, 283, 319, 326, 330 Ford, John  242 Forster, E .M.  206 Fox, John Roger  29, 261 Fox Film Corporation  101 France  20, 25, 38, 49, 50, 51, 99, 102, 112, 115, 124, 125, 128, 138–9, 141, 149, 232, 237, 238, 320

348

Francis, Clive  334 Franks, Dick  144 Fraser, Lionel  48 Freemantle, Anne  280 Freetown  19, 31, 75, 76, 83, 171, 316 Frere, A. S.  4, 35, 48, 51, 58, 64, 69, 70, 102, 105, 140, 185, 277, 323 Frere, Pat  185 Freud, Sigmund  216, 246 Frewin, Leslie  272 Frost, Eunice  255 Furnas, J. C.  145 Gallagher, Michael  133, 294 Gallix, François  75 Galsworthy, Ada  46, 265 Galsworthy, John  46, 265 Galway  9, 60 Gardiner, Margaret  30, 261 Gasset, José Ortega y  66 Gekoski, Rick  93 Gelman, Juan  24, 258 Geneva  194 Gerald Duckworth and Co. Ltd.  264 Gerhardie, William  16, 256 Germany  55, 70, 79, 157, 193, 227, 320 Gide, André  224 Gielgud, John  32, 154 Gilby, Thomas  186 Gill, Eric  244 Gilliat, Sidney  162, 247 Gilliatt, Penelope  38, 267 Glasgow Herald  244 Glenville, Peter  104, 134, 154, 160, 250, 284, 294 Gloucester  69 Glover, Dorothy  16, 34, 47, 57, 59, 61, 62, 93, 115, 170, 175, 181, 185, 193–4, 199, 231, 256, 314, 322, 325, 327, 328, 332 Glover, Julian  76, 90 Goa  320, 321 Goetz, Ben  166 Gombos, Edith  see Sorel, Edith Goodwood  191 Gorbachev, Mikhail  44, 215 Gordon, John  49, 52–3, 171, 318 Gough, Henry  65 Gould, Gerald  95 Gozo  182

Index

Grant, Cary  29, 75, 162, 167 Graphic  313 Grass, Günter  142 Graves, Robert  224, 334 Greece  315, 320 Green, Martin  247 Green-Armytage, Robert  95, 191, 261, 293, 324, 325 Greene, Audrey  195 Greene, Ave  30 Greene, Barbara  76, 145, 153, 240, 305, 309 Greene, Ben  30 Greene, Elisabeth  see Dennys Greene, Eva  30, 31 Greene, Felix  112, 268 Greene, Francis  30, 40, 62, 84, 147, 148, 149–50, 179, 199, 308, 321, 332 Greene, G. F.  54 Greene, Graham C.  185 Greene, Henry Charles  30–1, 261 Greene, Herbert  195–6, 240, 325 Greene, Hugh  6, 37, 44, 59, 117, 141, 150, 175, 176, 182, 229, 234, 239–40, 268, 282, 308, 319, 332, 333 Greene, James  6, 239, 240–1, 322, 333 Greene, Lucy Caroline  see Bourget, (Lucy) Caroline (Greene) Greene, Marion  30–1, 261, 327 Greene, Maud C.  327 Greene, Raymond  68, 92, 141–2, 150–1, 157, 242, 283, 308 Greene, Richard  2, 4, 194, 221, 332 Greene, Sarah  332 Greene, Vivien (Vivienne Dayrell-Browning)  3, 23, 24, 31, 50, 61, 62, 67, 70, 76, 83–4, 85, 88, 90, 91, 92, 94, 95, 106, 107, 119, 149–50, 151, 180, 185, 186, 188, 189, 191, 199, 231, 234, 240, 247, 258, 274, 283, 285, 286, 308, 323, 327, 332, 333 Grieg, Nordhal  321 Griffin, Bernard  264 Grigson, Geoffrey  104, 284 Grindea, Miron  44–5, 134–5, 294 Grisewood, Harman  247 Grydzewski, Mieczyslaw  102, 283 Guardian  179, 335 Guinness, Alec  2, 32, 47, 114, 155, 160, 162, 168, 265 Guinzberg, Harold  5, 114–15, 121–2, 285

Guinzberg, Tom  123 Guy, Daniel  22, 57, 112–13, 141, 173, 237, 285, 318 Guy, Martine  see Cloetta Hadfield, John  173 Hagglof, Gunnar  52, 276 Haiti  63, 64, 80, 86, 89–90, 94, 103, 104, 128–9, 154, 177, 200, 221, 231, 319, 320, 321, 328 Hamilton, Gerald  284 Hamilton, Jamie  14, 15–16 Hamilton, Patrick  42 Hamish Hamilton Ltd.  14, 15–16, 256 Hammerstein, Oscar  47, 265 Hampton, Christopher  260 Hanoi  90, 137, 148, 176, 201 Hansom Books  119 Hardy, Thomas  68, 69, 83, 238, 249 Harrison, Mercia Ryhiner Schwob Tinker  194, 325 Harrison, Rex  27, 160, 161, 194 Hart-Davies, Rupert  71 Hartley, L. P.  87 Harwood, Ronald  31–2, 261, 315 Havana  50, 70, 71, 86, 142, 201, 231, 246 Havel, Václav  135, 295 Havergal, Giles  36 Hawthornden Prize  106 Hawtree, Christopher  6, 38–9, 118, 286 Haydon, Benjamin Robert  150 Hayward, John  16–17, 61, 96, 165, 200, 205, 256, 283, 329 Hazzard, Shirley  241–2, 244, 268, 321, 332, 333, 334 Heath, Edward  94 Heller, Joseph  268 Heller, Lukas  26 Henshall, Father  323 Hepburn, Audrey  161 Hepburn, Katharine  120, 168 Herron, Shaun  268 Hesperus Press  80, 157 Hetherington, John  115–16, 285 Higdon, David Leon  167 Higham, David  4, 15, 97, 98, 101, 104, 105, 106, 267, 284 Highsmith, Patricia  135, 276, 295 Hill, Caroline  218

349

Index

Hitchcock, Alfred  77, 162 Hobsbawm, Eric  30 Hobson, Anthony  61, 271 Hogarth, G.  196 Hogarth, Paul  180, 320 Holland  58, 320 Hong Kong  224 Hope, Anthony  168 Hopkins, Gerard Manley  197–8, 224 Hopkinson, Lyndall P.  268 Howard, Peter  334 Howard, Trevor  27, 259 Hudson-Smith, R.  247 Huebsch, Ben  5, 121 Hughes, Emmet  94 Hughes, Paul  334 Humphreys, Emyr  13–14, 255 Hungary  113–14, 144, 176, 320, 321 Hunt, Violet  206, 329 Hutchinson, Mary  108, 284 Hutchinson publishers  249 Hutton, Lady  45 Huxley, Aldous  101 Hyde, H. Montgomery  108, 284 Ibsen, Henrik  137 Igoe, William  135–6, 296 Independent  24, 169, 278, 313 Independent on Sunday  335 India  234 Indo-China  31, 112, 148, 176–7, 178, 198, 249, 320, 321, 322 Iran  144, 206 Ireland  1, 42, 60, 177, 194, 222, 320 Ischia  124 Isherwood, Christopher  197, 326 Israel  150, 177, 198, 200, 202, 246, 320, 322, 328 Italy  97, 116, 132, 177, 190, 214, 234, 274, 320 Iyonda  see Yonda Izakov, Boris  179 Jamaica  30, 86, 103, 233 James, Henry  18, 25, 52, 108, 228, 229, 245, 266 James Senior, Henry  224 Japan  133 Jeffs, Joseph E.  6, 133, 181, 220 Jerusalem  45, 202, 319

350

Jerusalem Post  177 John Bull  108 John Gordon Society  49, 52–3, 138, 266 John Lane publishers  56, 268 John Paul  II, 213–14 Johns, Glynis  130 Jonathan Cape  56, 268 Jones, David  141 Jongny  20, 22 Joyce, James  72, 186 Kallin, Anna  55 Kearney, Eva  163 Kelly, Grace  223 Kelly, Linda  267 Kenya  42, 81, 90, 177, 182, 200, 278, 320, 321, 328 Kermode, Frank  267, 315, 326 Kierkegaard, Søren  68, 237 Kilham-Roberts, Denys  191 Kilroy, Thomas  270 Kilvert, Francis  17 Kincaid, Denis  268 King, James  249, 336 Kingston, Jamaica  233 Knightley, Phillip  143 Koenig, Lester  121 Korda, Alexander  17, 25, 29, 31, 46, 107, 133, 157, 166, 167, 205, 321 Korda, Michael  36, 114, 146, 163, 263 Kronenburger, Louis  326 Kuala Lumpur  30, 148, 230 Kundera, Milan  176 Ladd, Alan  31 Laffont, Robert  5, 157 Lally, Des  60, 270 Lambert, Constant  206, 329 Lambert, J. W.  51, 266 Lancon, Nicole  183, 322 Landrove, Cuadra  143 Laos  148, 150, 176, 320 Larkin, Philip  1, 42, 257 Laughton, Isobel  136, 234, 297 Laughton, Tom  136, 234, 268, 276, 297 Laurenço Marques  139 Lausanne  51, 98 Lawrence, D. H.  72 Laws, Helen  24, 258

Index

le Carré, John  52, 138 Lechat, Edith  110 Lechat, Michel  31, 108–10, 136, 151–2, 284, 297, 309 Le Figaro Littéraire  313 Lehmann, John  131 Leicester  156, 203, 218 Leigh, Vivien  2, 26, 31 Leighton, Lord  123 Leitch, David  143 Le Monde  313 Leningrad  25 Lennard, Robert  259 Leon  213 Leroux, Etienne  111, 280 Leroy, Jean  136–7, 148, 276, 298 Lester and Orpen Dennys  162, 184, 322 Levin, Bernard  135 Lewin, David  99 Lewis, Norman  178 Liberia  31, 76, 145, 153 Life  94, 176, 316, 322 Lindsay, Philip  284 Linton  31 Lisbon  31 Listener  32, 105, 170, 184, 230 Literary Review  148 Literaturanag Gazette  215 Logue, Christopher  327 London  8, 13, 27, 31, 33, 36, 41, 44, 50, 53, 54, 69, 70, 72, 78, 79, 83, 84, 85–6, 107, 114, 115, 121, 134, 141, 142, 148, 155, 159–60, 163, 165–6, 172, 178, 186, 187, 191, 192, 193, 195, 204, 207, 216, 219, 221, 224, 227, 234, 236, 239, 247, 249, 258, 264, 275 London Film Productions  157, 259 London Magazine  45, 131 Longmams, Green and Co.  105, 125, 136 Lopez, Pedro  242, 333 Los Angeles  164, 172 Losey, Joseph  25–7, 100, 137, 151, 155, 159, 234, 259, 298 Low, David  29–30, 195, 262, 276, 317, 325, 335 Lowell, Robert  42, 119 Lowry, Malcolm  186 Lubbock, Percy  168 Luke, Peter  239

Lyons, Islay de Courcy  113, 285 Lytle, Andrew  324 Macao  321 MacDiarmid, Hugh  18–19 Mackenzie, Compton  237 Maclean, Donald  126, 240 Macleod, Joseph  18, 19, 257 Macmillan Publishing  17, 156 Macpherson, Kenneth  37, 113, 175, 193, 234, 285, 324 Madrid  114, 236, 238 Magnusson, Philip  165 Mailer, Norman  110, 284 Malaya  95, 108, 148, 165, 178, 198, 200, 222, 320, 322, 328 Malgudi  193 Mallea, Eduardo  133 Malraux, André  138, 206 Maltz, Albert  284 Managua  209 Mandarin publishers  144 Mankiewicz, Joseph L.  45 Mankowitz, Wolf  151 Mann, Thomas  42 Mar del Plata  190 Margaret, Princess  87 Marjoribanks, James  242–3, 333 Márquez, Gabriel Garcia  2, 133, 137, 299, 321 Marsh, Carol  259 Marsh, Edward  196, 325 Martin, Kingsley  14, 255 Martindale, C. C.  186, 188–9, 323, 327 Marvell, Andrew  42 Marx, Sam  167 Masefield, John  249 Massie, Allan  267–8 Masters, John  117, 286 Mathew, David  164 Matthews, Ronald  267 Matthiessen, Peter  325 Maugham, W. Somerset  185 Mau Mau  81, 177 Mauriac, François  137, 142, 163, 205, 299 Mbembe, Achille  182 McCall, Monica  4, 23, 27, 153, 156, 159, 161, 168, 182, 323 McCarthy, Mary  138 McDonnell, Joan  39

351

Index

McDonnell, Vincent  39, 263 McLaren-Ross, Julian  284 McWhorter, George  324 Medcalf, John  178, 191–2, 321, 324 Melville, Herman  20 Merrick, Leonard  45 Methuen  140 Mexico  31, 54, 86, 93, 105, 106, 121, 136, 192, 225, 233, 321, 322 Meyer, Michael  51, 137–8, 162, 167, 299, 315 MGM  23, 38, 72, 97, 107, 159, 166–7, 211 Michael Joseph Ltd.  48 Midgley, Robin  156 Miller, Arthur  142–3 Miller, Henry  34 Miller, Robert H.  191, 324 Mills, John  154 Minh, Ho Chi  85, 112, 177, 201 Ministry of Information  57, 115, 126, 193, 249, 268, 325 The Mint  75, 104, 273 Mitgang, Herbert  325 Mitterrand, François  38, 138–9, 141, 300 Mizener, Arthur  267 Mockler, Anthony  40, 42, 180, 286, 320 Monaco  49, 52 Monroe, Elizabeth  267 Montano  85 Monte Carlo  52, 117, 160 Month  186, 187 Montini, Monsignor  164 Montreux  202 Moor, Elisabeth  25, 36, 59, 75, 100, 113, 158, 175, 234–6, 244, 319, 321, 332 Moor, Giulietta  175 Moore, Brian  139, 268, 300 Moore, Nicholas  325 Moré, Marcel  119, 283, 286 Morison, Stanley  256 Morley, Robert  111 Mornington-Parsons, Ian  33 Morocco  124 Morrell, Ottoline  101, 110–11, 284 Morris, Charles  166–7 Morrow, Jo  114 Mortimer, John  155, 260 Mortlake, Harold  115 Morton, J. B.  213

352

Moscow  25, 38, 44, 50, 84, 105, 114, 179, 206, 207, 246, 247, 274 Mosley, Leonard  144 Motor Sport  147 Muggeridge, Malcolm  14, 138, 139, 207, 247–8, 300, 335 Munthe, Axel  25, 100 Murdoch, Iris  30, 42 Nabokov, Vladimir  49, 53, 111, 120, 170–1, 196, 316, 325 Naipaul, V. S.  280 Nairobi  30 Nam Dinh  201 Nantes  234 Nantucket  246 Naples  128, 177, 222, 224 Narayan, R. K.  15, 33, 108, 139–40, 193, 238, 300, 315, 319, 334 Nash’s Magazine  104, 105–6 Neame, Christopher  152, 162, 239 Neruda, Pablo  140, 176, 190, 196 Newall, Maria  81, 177, 321 Newbolt, Henry  140 Newby, Percy  55 News Chronicle  105 New Statesman  14, 90, 94, 147, 166, 180, 249, 255, 275, 281, 313, 316 New York  5, 9, 77, 108, 114, 115, 127, 154, 172, 181, 221, 228, 241 New Yorker  38, 45, 279, 320 New York Review of Books  129, 171–2, 214, 317–18 New York Times  30, 325 Nguyễn tiến Lãng  16 Nicaragua  43, 104, 130, 172, 178, 191–2, 213–14, 232, 234, 264, 319, 320, 321, 330, 331 Nice  112–13, 139, 173, 242, 248, 285 Nicholson, Jack  27 Nicolson, Harold  95, 131 Niemeyer, Oscar  205 Night and Day  15, 17, 45, 59, 105, 118, 191, 204, 218, 220, 248, 251, 258, 268, 324, 328, 329, 330 Noriega, Manuel  140, 300 Norman, Edward  316 P. A. Norstedt and Soner  5, 179 Norway  98

Index

Nottingham  16, 79, 227, 275 Nottingham Journal  16, 79, 174 O’Brien, Conor Cruise  177 O’Brien, Flann  323 Observer  79–80, 92, 125, 143, 171, 179, 267, 272 Ocampo, Victoria  98, 140, 189–91, 301, 324 Oldfield, Maurice  143 Olichon, Armand  276 Olivier, Laurence  26, 31, 154, 155, 164 Onions, Oliver  251 Orphanos, Stathis  164 Ortega, Daniel  232, 321 Orwell, George  45, 138, 264 Osborne, Eric  193–4, 325 Oseira  236 Oslo  258 Oxford  8, 18, 19, 29, 31, 33, 48, 79, 81, 84, 88, 92, 94, 107, 120, 128, 149, 183, 192, 196, 199, 226, 234, 239, 240, 249, 251, 274 Oxford Outlook  18, 19, 123, 162, 275, 313, 318 Oxford University Press  100, 267 Page, Bruce  143 Palestine  122 Palliser, Anthony  141, 186, 204, 301 Palliser, Peter  164 Palmer, Herbert Edward  284 Panama  41, 43, 44, 103, 104, 114, 129–30, 137, 140, 145, 165, 171–2, 192, 200, 202, 207, 209, 213, 214, 234, 246, 264, 317, 320, 321, 328, 330, 334 Pan Books  48 Paraguay  68, 198, 200, 202, 328 Paraná  51, 190 Paris  18, 26, 51, 58, 108, 132, 177, 183, 190, 192, 222, 224, 234 Parkhill-Rathbone, Mr  256 Parkinson-Keyes, Frances  279 Parrish, Max  34 Parsons, Ian  268 Partridge, Robert  131 Paschoud, Jean-Felix  38 Paul Zsolnay Verlag  5, 62, 267 Peake, Maeve  32, 141–2, 261, 267, 301 Peake, Mervyn  32, 141–2, 189, 197, 261, 301 Pearn, Nancy  4, 97, 101, 104, 105–6

Peking  14, 126 Pemberton, Max  240 Penang  194 PEN Club  142–3, 231, 301, 315 Penguin Books  14–15, 39, 40, 58, 69, 72, 74, 100, 109, 141, 243, 255, 262 Peru  191–2, 324 Peters, A. D.  4, 33, 94 Phat Diem  201 Phelps, Gilbert  34, 115, 267, 314 Philby, Kim  52, 65, 102, 126, 143–4, 178, 182, 206–7, 247, 256, 266, 301, 316, 329 Philby, Rufa  143, 206–7, 329 Phillips, Jill  72 Pick, Charles  47–8, 58, 59, 185, 265 Picture Post  94, 229 Pieraccini, Rolando  57, 116, 286 Pinochet, Augusto  79, 196 Pinter, Harold  26, 27, 142 Pio, Padre  119, 233 Pius XII  119 Pizzardo, Cardinal  164 Playboy  148, 158 Plimpton, George  325 Plomer, William  17, 111, 257, 284 Polak, Hans  37 Poland  100, 132, 178–9, 182, 200, 320, 328 Pollinger, Gerald  4, 38, 39, 100, 101, 152, 167 Pollinger, Laurence  2, 4, 14, 22, 23, 47, 48, 53, 72, 97, 98, 99, 101, 104, 106, 107, 157, 159, 161, 166, 262, 263, 265, 283 Pope-Hennessy, James  18, 280 Port-au-Prince  63, 64, 154 Portugal  146, 236 Pot, Pol  232 Potter, Beatrix  258 Potter, Stephen  55 Pound, Ezra  111, 186, 284 Powell, Michael  27, 259 Powers, Gary  179 Prague  250 Preminger, Otto  27, 89, 101, 111, 159 Price, Victor  314 Priestley, J .B.  30, 71–2, 319 Pringle, John  100 Pritchett, Mary  4, 122, 138, 321 Pritchett, V. S.  55, 170, 249, 267, 315, 316 Private Eye  38 Pudney, John  284

353

Index

Puerto Rico  192 Punch  314 Quayle, Eric  117, 285–6 Quennell, Peter  19, 119–20, 174, 286 Quinn, Anthony  121 Radell, Karen  286 Rainbird publishers  173–4 Raine, Kathleen  32, 85, 261 Random House  33, 56, 57, 269 Rattigan, Terence  32–3, 62, 151, 244, 260, 261 Ravello  229 Read, Herbert  24–5, 165, 185, 205–6, 249, 258, 279, 284, 317, 329, 334 Read, Margaret  258 Read, Piers Paul  25, 215, 258 Reagan, Nancy  214 Reagan, Ronald  207, 213, 215 Redgrave, Michael  45, 264 Redway, Alan  6, 37, 100, 179, 243–4, 333 Reed, Carol  28–9, 99, 125, 141, 157, 162, 167, 240, 244, 246, 259 Rees-Mogg, William  138 Reid, Josephine  2, 4, 71, 80, 265–6 Reinhardt, Joan  34, 38 Reinhardt, Max  5, 33–40, 57, 59, 127, 136, 140, 152, 155, 167, 171, 173, 174, 234, 261–3, 316 Reinhardt Books  5, 33, 38 Renault, Mary  159, 310 Rendall, Miss  85 Richards, Ivor  256 Richardson, Ralph  40–1, 93, 135, 153, 160, 263 Richey, Michael  96, 144, 164, 241, 244, 247, 283, 303, 334 Richmond, Kenneth  30, 79, 120, 144, 174, 192 Richmond, Zoë  30, 144–5, 174, 303 Rickards, Jocelyn  130–1, 188, 292, 303, 321 Rider, Peter  48 Riga  239 Rinsler, Professor  45 Rio de Janeiro  83 Riviere, Jacques  269 Róbert, László  113–14, 143, 176, 285, 321 Roberts, Cecil  16, 79, 174, 256 Robson, Flora  154 Rodgers, Richard  47

354

Roe, Thomas  98, 99 Rogers, Paul  141, 232 Rolling Stone  245 Romania  320, 321 Rome  18, 30, 48, 113, 130, 163, 194, 223, 229, 236, 311 Romero, Archbishop  214 Ross, Alan  115 Routledge and Kegan Paul  56, 268 Rowse, A. L.  19, 257 Rubinstein, Harold  171 Russell, Bertrand  205 Russell, Leonard  49, 111, 143, 284 Russell, Peter  115 Russia  43, 84, 115, 149, 179, 264, 315, 320, 321 Russo, George  96, 283 Ryhiner, Peter  194 Saigon  30, 45, 86, 114, 137, 200, 201, 204, 221 St Albans  148, 206 St Francis of Assisi  100 St John Stevas, Norman  280 St. Thomas  187 Saki  237 Salamanca  236, 238 Salan, General  148, 285 Salter, Elizabeth  267, 326 Sams, M. C.  267 San Antonio  225 Sandanistas  178, 213–14, 232 Sander, Allegra  16, 96 Sanders, George  98 San Francisco  50 San Juan  112, 192 Santa Fé  190 Santiago  196 Santiago de Cuba  44, 202 Saturday Evening Post  313 Saunders, Amanda  4, 126, 131, 147, 149, 169 Saunders, W. A.  271 Schebeko, Marie  see Biche, Marie School House Gazette  175, 319 Schrader, Paul  284 Schwartz, Renee  122–3 Schwob, Robert  194 Scofield, Paul  27, 30, 160, 188, 242 Scotland  194, 234 Scotsman  333 Scott, James  161

Index

Scott, Robert  183 Scott-James, R. A.  284 Scribner III, Charles  156 Secret Intelligence Service (SIS)  57, 67, 70, 126, 139, 143–4, 148, 165, 178–9, 206, 248, 317 Selznick, David  28–9, 167, 205 Selznick, Irene  154–5, 183 Sewell, Brocard  336 Sexton, James  157 Shakespeare, William  41, 69, 79, 203 Sharrock, Roger  41–2, 263 Shaw, G. B.  89 Sheehy, Michael  267 Sheetz, Nicholas  134 Shelden, Michael  194 Shelley, P. B.  63 Sherrin, Ned  26 Sherry, Norman  2, 17, 42, 96, 100, 104, 110, 116, 134, 135, 138, 144, 180, 185, 186, 194, 221, 233, 234, 241, 286 Sibon, Marcelle  313 Sierra Leone  31, 70, 75, 78, 90, 106, 179, 200, 206, 320, 321, 328 Silone, Ignazio  142 Silvers, R. B.  172 Simenon, Georges  45 Simmons, James  267 Simon and Schuster  36, 123, 184, 323 Simpson, John Hampson  268 Sinai  177, 202 Sinclair, Andrew  315 Singapore  29, 148, 194 Sinyavsky, Andrei  142, 179, 250 Sitwell, Edith  111, 123, 200, 205, 284, 326, 329 Sitwell, Osbert  269, 323 Sitwell, Sacheverell  111, 284 Sjöberg, Alf  155 Škvorecký, Josef  234, 250–1, 267, 279, 336 Slough  228 Smith, Bill  104 Smith, Janet Adam  18, 257 Smith, Maggie  168 Smith, Peter Duval  315, 316 Smullyan Jr., Clinton Ives  245 Snowdon, Lord  51 Soldati, Mario  48–9, 166 Solomon, Peter  320, 321

Solzhenitsyn, Alexander  25, 143–4, 250, 281 Somoza, Anastasio  130 Sorel, Edith  198, 327 Sotheby’s Auction House  5, 61, 115, 146, 181, 245, 320 South Africa  17, 27, 31–2, 52, 111, 159, 200, 250, 328 Soviet Union  25, 30, 142, 206–7, 250, 315 Spain  22, 41, 43, 44, 103, 146, 227, 236–8, 264, 320, 321 Spark, Muriel  17–18, 242, 243, 257, 268 Spectator  13, 15, 19, 32, 53, 54, 82, 94, 111, 146, 171, 207, 268, 272, 312, 316, 326 Spence, Mr  283 Spender, Stephen  53, 266 Stafford, Jean  119, 286 Stafford, John  160 Stanford, Derek  17, 257 Stang, Sondra  326 Steegmuller, Francis  241, 267, 325 Stevenson, Robert Louis  18, 55, 61, 89, 108, 145, 180, 196, 242–3, 305, 320 Stewart, James  29 Stockholm  45, 50, 51, 159, 178, 241 Stoppard, Tom  27, 111, 155, 159, 284 Storm, Lesley  260 Strachwitz, Barbara  see Greene Strand Magazine  75, 104, 106 Stratford, Philip  163 Strindberg, August  137 Strong, L. A. G.  112, 284 Sturridge, Charles  164 Suez  234 Sunday Express  39, 52, 108 Sunday Telegraph  147 The Sunday Times  16, 49, 81, 111, 143, 158, 177, 178, 229, 328 Sur  189–90 Sutro, Gillian  6, 48–53, 86, 186, 266 Sutro, John  27, 48–53, 127, 147, 266 Svanström, Ragnar  5, 35, 179 Swansea  191 Sweden  31, 50, 98, 138, 179, 194, 232, 320 Switzerland  20, 29, 38, 98, 124, 135, 185, 194 Sykes, Christopher  247, 335 Sylvester and Orphanos  161, 164, 172, 311, 318–19 Symons, Julian  196, 286, 326

355

Index

Tablet  23, 25, 94, 125–6, 183, 202, 210 Tahiti  51, 137, 320, 322 Taiwan  132, 320 Talbot, Mr  117, 286 Tallinn  139 Tate, Allen  197, 326 Taylor, Elizabeth  129 Taylor, John Russell  37, 162–3, 311 Tây Ninh  200 Tel Aviv  198 Temple, Shirley  121, 162–3, 213 Thailand  148 Thames Television  37, 56, 59, 162, 238 Theroux, Paul  161 Thomas, Dylan  284 Thomas Tilling Ltd.  48 Thompson, Dunstan  326 Thomson, Ian  126 Thorndike, Sybil  160 Thriplow  119, 146 Time  152, 214, 215 Time and Tide  100, 172, 215 The Times  33, 57, 78, 79, 94, 113, 124, 147, 170, 173, 177, 184, 214, 219, 239, 242, 244, 268, 278, 316, 328, 331, 334 The Times Literary Supplement  94, 115, 256 Tiomkin, Dimitri  161 Tito, Marshal  91, 279 Tokyo  152 Tolstoy, Leo  144 Topolski, Feliks  94 Toporowski, W. F.  265 Toronto  250 Torrijos, Omar  41, 103, 126, 129–30, 140, 145–6, 209, 246, 306 Townsend, Peter  87 Toynbee, Arnold  165 Traherne, Thomas  71 Travers, Ben  174 Travesi, Derek  186–7 Trench, Hilary  44, 96 Trevor (Cox), William  267 Trier  70 Trilling, Ossia  335 Trollope, Anthony  107, 238 Trotsky, Leon  68 Troup, Freda  261 Truffaut, François  138 Trujillo, Rafael  38

356

Tunbridge Wells  224 Tutin, Dorothy  41, 160 Tynan, Kenneth  42, 138, 264 Unamuno, Miguel de  236–7 Uruguay  200, 328 Valentine, Miss  117 Vanguard Books  48 Van Loewen, Jan  4, 56, 153, 155, 156, 163, 165, 183 Venice  80, 189, 221, 229 Verdant, S. A.  98, 99 Victor Gollancz Ltd.  47 Vienna  28, 59, 99, 234, 259 Vientiane  148, 176 Vietnam  84, 86, 110, 112, 114, 136–7, 148, 150, 177, 178, 187, 200, 204, 205–6, 232, 245, 320, 328 Viking Press  5, 15, 69, 114–15, 121–3, 168, 273, 287 Volkoff, Vladimir  268 von Hugel, Fredrich  187 Wall, Barbara  247, 325, 335 Wall, Bernard  115, 247, 335 Wallace, Edgar  16 Walling, Gerald  323 Walpole, Hugh  16, 77 Walston, Catherine  6, 16, 31, 43, 49, 50, 93, 96, 113, 119, 124, 131, 133, 134, 146–7, 182, 186–8, 189, 194, 199, 200–1, 217, 220–5, 229–31, 307, 321, 331 Walston, Harry  134, 146–7, 220, 221, 307 Walston, James  147, 307 Walston, Oliver  147, 307 Warren, Robert Penn  193, 324–5 Warsaw  115, 178 Washington DC  111, 198 Waterfield, Robin  29–30 Waugh, Auberon  147–8 Waugh, Evelyn  6, 24, 42–3, 112, 118, 119, 127, 139, 147, 164, 184, 185, 186, 188, 200, 204–5, 247, 258, 264, 286, 307, 328, 329 Waugh, Laura  264 Weekly Westminster Gazette  275, 313 Weidenfeld and Nicolson  14, 171 Welles, Orson  29 Wells  234

Index

West, Rebecca  112, 193, 324 West, W. J.  335 White, Antonia  197, 200, 205, 329 White, Eric  284 White, Patrick  26 William Heinemann Ltd.  5, 15, 35–6, 47–8, 57–9, 62, 98, 105, 106, 107, 114, 122, 133, 140, 162, 182, 185, 193, 269 Williams, Harcourt  107 Williamson, Malcolm  162, 247, 334 Wilson, Angus  249 Wilson, Trevor  148, 150, 153, 176, 307, 309 Winterbottom, Derek  267 Wobbe, R. A.  37, 115, 179 Woman’s Journal  313 Wood, Peter  73, 153 Woolf, Cecil  177, 243 Woolf, Virginia  102, 213

Wordsworth, Dorothy  186 Wordsworth, William  71 Wright, Basil  259 Wright, Peter  207 Wright, Ralph  149, 308 Wyler, William  160 Yajalon  192 Yates, Dornford  77 Yonda  108–10 Yonge, Charlotte M.  70, 172 Young, Doris  4, 53, 115 Young, Jeffrey  24, 258 Youngman-Carter, Philip  58 Yugoslavia  320 Zsolnay, Paul  59, 217 Zwisohn, Jane  285

357