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by Carole Seymour-Jones

Download Painted Shadow: A Life of Vivienne Eliot fb2, epub

ISBN: 1841196363
Author: Carole Seymour-Jones
Language: English
Publisher: Constable & Robinson Ltd; New edition edition (August 31, 2002)
Pages: 400
Subcategory: Biography
Rating: 4.2
Votes: 739
Size Fb2: 1692 kb
Size ePub: 1678 kb
Size Djvu: 1972 kb
Other formats: mobi txt rtf lrf


On their honeymoon, . Eliot slept in a deckchair while his bride trashed the bedroom. In this extract from a compelling new biography of Vivienne, the odd couple fall apart - and she falls for Bertrand Russell.

On their honeymoon, . Tom Eliot cut an impressive figure when he arrived in England. To Vivienne Haigh-Wood, meeting him for the first time in March 1915, he seemed an old-fashioned American 'prince' and his 'deep and thrilling voice' with its slow drawl added a dash of glamour

Goodreads helps you keep track of books you want to read. Start by marking Painted Shadow: A Life Of Vivienne Eliot as Want to Read: Want to Read savin. ant to Read.

Vivienne Eliot was committed to an asylum in 1938, five years after. Goodreads helps you keep track of books you want to read.

Carole Seymour-Jones argues that there may be an allusion to whatever happened in that room at the climax of the . Eliot himself refused to sign the committal papers

Carole Seymour-Jones argues that there may be an allusion to whatever happened in that room at the climax of the poem, when Eliot proposes that the most important thing in life – the thing that overcomes the desolation of modernity – is "The awful daring of a moment's surrender/ Which an age of prudence can never retract". Eliot himself refused to sign the committal papers

Seymour-Jones's perspective is not totally new; for instance, Michael Hastings's 1985 play Tom and Viv .

However, Seymour-Jones is the first to do a scholarly study of Vivienne's life that documents most (but not every last one) of her conclusions. If the strength of Seymour-Jones’s Painted Shadow gets AT Vivienne’s oppression, its weakness is that it does not get AFTER it. It delves and dips into the depth of her character, but tends to reside closer to its cloudy surface. Thus the smog of details, psychology, and clique reports.

Carole Seymour-Jones was born in Wales and educated at Oxford University. She is the author of several books, including Beatrice Webb: A Life. She divides her time between Surrey and London.

Lyndall Gordon writes that Eliot was jolted to life by Haigh-Wood Carole Seymour-Jones, one of Haigh-Wood's biographers, argues that there was .

Lyndall Gordon writes that Eliot was jolted to life by Haigh-Wood. He was a repressed, shy, 26-year-old who was bored in Oxford, writing of it that it was very pretty, "but I don't like to be dead. She was flamboyant, a great dancer, spoke her mind, smoked in public, dressed in bold colours and looked. Carole Seymour-Jones, one of Haigh-Wood's biographers, argues that there was a strong streak of misogyny in the way Eliot regarded Haigh-Wood

Seymour-Jones, Carole.

Seymour-Jones, Carole. Books for People with Print Disabilities. Internet Archive Books.

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Carole Seymour-Jones. Carole Seymour-Jones. Ms Seymour Jones gives us a point of view and perspective from Eliot's wife Vivienne and "how this sponataneous, loving, but fragile woman was trapped and ultimately destroyed by a disatrous marriage

Carole Seymour-Jones. Ms Seymour Jones gives us a point of view and perspective from Eliot's wife Vivienne and "how this sponataneous, loving, but fragile woman was trapped and ultimately destroyed by a disatrous marriage. a211423, September 12, 2006.

I could never read his poems again without Vivienne in my mind. If you don't read biography normally, reading this book might change that.

Painted Shadow, (a life of Vivienne Eliot) by Carole Seymour-Jones. by Becca at 12:48 on 27 August 2004. If you like biographies this is stunning. I could never read his poems again without Vivienne in my mind. It's scholarly, but at the same time deliciously full of a sense of the outrageousness of the period in question, so much so that on reading I thought 'Oh, can I be allowed to know this?' If you don't read biography normally, reading this book might change that. Like (0) Helpful (0) Made Me Think (0) Made Me Smile (0) Pure Genius (0).

This biography of Vivienne Eliot completely belies the long-held view of her as merely a demented woman. When Tom and Vivienne married in 1915 they had known each other only a few months. The predatory and exploitative Bertrand Russell, under the guise of taking the Eliots under his wing, soon drew Vivienne into a sexual relationship. The couple joined the emotional merry-go-round of the Bloomsbury and Garsington circles and their marriage became the subject of speculation. Nevertheless Vivienne flourished for a while helping her husband with his literary work, contributing poems, essays and book reviews to his magazine. But by the time she was committed to an asylum in 1938, five years after Eliot had deserted her, this spontaneous and loving woman had become a sad and lonely figure. Out of this emotional turbulence came the poem "The Waste Land". Carole Seymour-Jones seeks to show that the poem cannot be understood without reference to the marriage. Based on papers both privately-owned and on university archives, and on Vivienne's own writings held at the Bodleian Library, Oxford, the author aims to offer a striking new picture of Eliot's first wife.

Comments:

Lli
Goes Long, Falls Short

If the strength of Seymour-Jones’s “Painted Shadow” gets AT Vivienne’s oppression, its weakness is that it does not get AFTER it. It delves and dips into the depth of her character, but tends to reside closer to its cloudy surface. Thus the smog of details, psychology, and clique reports. Thus the looping assessments: Eliot is a certified gay on one page, subsequently oft a “perhaps gay;” Vivienne is a true writer, even Tom’s co-writer, and on subsequent pages deplorably less talented than her Bloomsbury pals.

Vivienne Haight-Wood cannot take center stage here--and be truly identified for the reader because she’s viewed with too close a lens. We’re given about as much of her that is known (I assume), but as valuable as it may be, it is mostly unconnected to any central, persuasive, or forming idea. What’s mainly missing is a structure, a perspective, a means of concision, that would impart to her life the compelling quality that it undoubtedly carried.

Although Vivienne was spared the battered-woman syndrome, she sure did live out the buffeted-woman syndrome--that is, she was sentenced to live in a determinedly male world, one that welcomed her, when at all, as a cipher. She floated, boneless, through it, upon it, against it, with it, always swept and swished away from self-direction. Virginia Woolf who is depicted here much more as a gossip than as an incisive intellect was another buffeted woman, but with will and good fortune was able to plant herself a little more firmly. Though Vivienne is Virginia, the parallel references here are inevitably made to Eliot. Who exists from across a wide gap--and from on high.

Of course, the absent structure of “Painted Shadow” is a steady consciousness of male social power. This is what would drive the work, enliven it, form it--and yes, shorten it. Vivienne’s marriage to a manipulative and deceiving homosexual, her sexual use by a womanizing philosopher, her recruitment by the British Fascists, or her betrayal by an elite, and often gay, literary mob, are mere expressions of the sheer male state that imprisons her.

Vivienne lived in an era of two brutally male conflagrational wars; suffered educational, legal, and economic systems that eclipsed women’s reality; experienced rising unilateral technologies which were masculine in invention and use; lived a sexed life governed by nakedly male sexologists; and stomached a cultural world in which men held all the keys.

As a woman under the influence, no wonder she is an enigma of direct rebellion and clinging worship of what she fears, hates, needs, and even loves. What most impresses her is what most terrifies her--male prestige, male force. TS Eliot as menace, as her potential killer, is also the hero she must adore, and can never stop loving. He is her fascist, he is her poet, her king. And his Furies of guilt are like pesky fleas, compared to the whipping swirling tentacles of the power which run through him (and Bertie, et al) as a member of a totalistic club, and into the life--of his wife.

Seymour-Jones certainly gets much of this--and gets a lot of it down. Quite possibly, she grasps it all--and more, but her life, like Vivienne’s, intersects with a prevailing social order which is as male now as it was then. Her academia is chiefly dismissive of the strong female voice, and of a radical feminist interpretations of a woman’s life. So, we may have to wait--and wait, for the definitive biography of Vivienne Haight Wood one that would not require its author to twist in the wind.
heart of sky
This is a superb study of the frustration that a bad marriage can wreak on two (mostly) admirable individuals: Vivienne Haig, sexually hungry and emotionally fragile, and Thomas Stearns Eliot, a homosexual who blithely imagined that marriage would cure him. The chafing these two endured makes for painful reading, though the author tells her story with such dispassion and aplomb that she mitigates their pain. Each marital partner damaged the other: for instance, whereas Vivienne openly slept with Bertrand Russell, Eliot openly sought "German Jack" as his lover. Everyone around them was disappointed and dismayed--increasingly so. Only when the two partners worked together on literary projects did their troubled marriage blossom. But when Eliot ran away from Vivienne in 1926 and then for years cruelly evaded her, she fell apart; and after she apparently threatened to expose his sexual preference, Eliot had her committed from 1938 till she died in 1947. This biography tells what the film TOM AND VIV omits: the sexual hostility that fueled their marriage. Highly recommended.
Gold Crown
The early twentieth century, particularly between the wars, will no doubt come to be seen as a Renaissance of the modern era in all departments of thought and human activity. Consequently, it is of some interest to view it from the perspective of a Rosencrantz or Guildenstern, and it is this view that is presented to us through the eyes of T. S. Eliot�s wife.
Unfortunately, we are no longer in that renaissance, but in a time of disillusionment and dissolution. All the great symbols are worn away, and what remains of major themes is turned into soap opera. The main thrust of this book is to paint a sinister portrait of Eliot and Bertrand Russell, and to create a victim out of the Muse and the power behind the intellectual throne of the day. There are interesting episodes here, which barely throw a small light on the minds of the major players, and it is difficult to believe that it was as incestuous and claustrophobic a community as painted here.
The interpretation of T. S. Eliot�s poetry is decidedly suspect. For instance, the hidden laughter of children, so important an image in the Quartets as symbolic of the timeless, is taken here to be derived from �mocking� laughter. It is often second-rate analysis or just plain muddled or wrong.
In order to paint a picture of the forgotten heroine, it is necessary to demote the status of the work to make her image stand out. This is achieved superficially by reducing the motivation of the work to the lowest common denominator, as though it may be derived from some form of closet homosexuality. This is to misunderstand the work as well as the symbolic significance of sexuality. That, unfortunately, is only to be expected these days. The painted picture of the spurned wife is indeed constructed by the author, who depicts her as one blown by the winds of fate in some tragic hurricane, passively standing by as she is robbed of her light that is fed on by others, and without which the poetry and the plays would not have been forthcoming.
Much that is written here is already well-known and has appeared elsewhere. This book, however, hardly emulates or enlightens, and reads more like a re-working to support the rather suspect thesis of the spurned Muse. T. S. Eliot was no saint and was well aware of his failures, condemned by his own words to move from wrong to wrong. This kind of biography sheds little light on those times and judges too harshly and too quickly, as though our hindsight alone is proof of our enlightenment. On the contrary, it is the hallmark of dogmatic thinking which we have moved into, and unfortunately, such tabloid journalese is what passes for erudition these days. I expect it will sell very well.
Thozius
Some good background at first, but impossible to read, completely speculative about the sex and affairs and reactions, a blow by blow account unsupported by evidence, fantasy and tabloid.
Clever
This author is so deep into tittle-tattle that she forgets to write about her subject. A judicious editing would have helped this dreary bio immensely.
Dranar
What a life, so many times of sadness and dissapointments, thoughtless actions and egos and emothions taring at each other. Sad but insightful. A good and sobering read.

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