Smith, Michael (2000). The Emperor's Codes: Bletchley Park and the breaking of Japan's secret ciphers. London: Bantam Press. p. 210. ISBN 0593-046412.

Meg’s marriage had been sexually happy and yet – she now, after Bill’s death, begins to understand – in need of repair; and she comes to see how life had gone sour on him so that, unhappy and unfulfilled, he gambled much of their money away. For her part Meg comes down in the world and so learns how she has used her class and sexuality to get her own way in life.The work situation was stressful and led to a nervous breakdown, for which he was treated by Rolf-Werner Kosterlitz. He returned to the Museum after the end of the War, and it was there that he met Tony Garrett (born 1929), who was to be his companion for the rest of his life. Towards the end of Angus Wilson's life his short stories were entombed in a collected volume. By way of signifying the corpus was sadly complete that made sense but it didn't do justice to the importance and quality of his work in this medium. If one of Wilson's misfortunes was that he tried to write the kind of book – effectively a try-out for the "global novel" – which was beyond his range, then another is the way in which his early work now looks to be of more interest to a social historian than a novel-reader. Significantly, David Kynaston's multivolume postwar history is crammed with approving references. On the other hand, to examine Wilson from the angle of his tornado years – the period 1949-1964, say – is to be conscious of quite how much he achieved. Evelyn Waugh once complained that Auden, Spender and Isherwood had "ganged up" and captured the 1930s to the exclusion of equally deserving talents. The same point could be made of Amis, Larkin and co 20 years later. But there was another kind of 1950s literary life, and it can be found here in Angus Wilson's clear-eyed interrogations of moral behaviour and fretful liberalism – a context in which the tedium of what came afterwards can readily be forgiven. This new optimistic Anti-Victorian progressivism which sought to destroy the false optimism and the basic despair of Victorian progressivism dominated Edwardian England and upheld a large part of middle-class England down to the Second World War. It is easy now to see that its optimism in turn was built upon evasions and fears which easily succumbed to the open horrors of the nineteen-thirties and -forties, but it was a most vital and deep-felt revolution and its echoes are still with us. It was perhaps so vital because it was founded upon an intense hatred of Father and Mother and all that they had stood for. The earliest and most violent of these father-haters and parricides was Samuel Butler, the John the Baptist of the Shavian Gospel.

Much of this was due to Butler’s own character and circumstances. He was a weak man obsessed with the need for absolute personal freedom; he was also a man whom parental Victorianism had made abnormally suspicious of any rhetoric or embroidery in thought. Imagery, poetry, extravagance of language, all these seemed to him the evasions, the casuistry of Victorian preaching. If they were muddled, however, it was not a little because their prophets had been muddled also. Anti-Victorianism had been intended as a straight from the shoulder tidy-up of a muddled, blinkered world; but if we return to its gospels — to Shaw and Wells, Forster, Douglas, and the Maugham of Of Human Bondage, to name only those who owed debts to Samuel Butler — we shall find often brute force muddled up with freedom, class prejudices accepted as honesty, optimistic generalization masking despair, and personal quirks generalized into universal dogmas. To say all this is not to deny their achievement — they were one and all brilliant demolition men, skilled parricides — where the buildings were ratinfested and had stood too long, where the fathers were corrupted and ripe for death. Access-restricted-item true Addeddate 2020-08-19 14:09:31 Boxid IA1911322 Camera Sony Alpha-A6300 (Control) Collection_set printdisabled External-identifier Wilson returned to the Museum after the end of the war, and it was there that he met Tony Garrett (born 1929), who was to be his companion for the rest of his life. Years later their life together was sympathetically portrayed in the BBC2 film "Angus and Tony" (1984), directed by Jonathan Gili. It was one of the first depictions of the life of a gay couple on British television. [ citation needed]Sometimes the effect is too mad to be pleasant, sometimes most moving; no one could deny Mr Wilson's gift.'As Margaret Drabble points out in her biography of Angus Wilson (to be reissued in Faber Finds) his stories were in their own way to be as iconoclastic and irreverent as John Osborne's plays were to be. campus directly (without the need to log in), and off-campus either via the institutional log in we When reviewing Such Darling Dodos C. P. Snow perceptively wrote, 'Part-bizarre, part-savage and part-maudlin, there is nothing much like it on the contemporary scene. It is rather as though a man of acute sensibility felt left out of the human party, and was surveying it, half-enviously, half-contemptuously, from the corner of the room, determined to strip-off the comfortable pretences and show that this party is pretty horrifying after all ... Sometimes the effect is too mad to be pleasant, sometimes most moving; no one could deny Mr Wilson's gift.'

urn:lcp:suchdarlingdodos0000wils_w5p8:epub:ccac9b2e-a97f-4b82-98ab-588793b98b97 Foldoutcount 0 Identifier suchdarlingdodos0000wils_w5p8 Identifier-ark ark:/13960/t5s84gc7p Invoice 1652 Isbn 0436575094 Their main concern, however, was to conduct their lives with common sense, no nonsense, straightforward realism, and plenty of hygiene. They disliked ugliness, sordid surroundings, disease, hypocrisy, pessimism, and sentimentalism above everything; and they were conscientiously determined that their children should be brought up in a world where these things didn’t exist. It was, of course, a well-nigh impossible assignment. The First World War they had met with high hearts, but its aftermath — especially as the nineteen-thirties brought the Depression and Hitler — wore them down. Cruelty, violence of emotion, humorlessness — everything that was grubby and smutty came to invade their hygienic world. It was intended that the children should never know guilt or fear; but, of course, they did and began to turn to all sorts of improbable excesses Communism, Roman Catholicism, and what have you. What Veronica said was very true, thought John, and he made a note to be more detached in his attitude. All the same these criticisms were bad for his self-esteem. For all her loyalty Veronica knew him to well, got too near home. Charm was important to success, but self-esteem was more so. The gravest defect, in fact, of Anti-Victorianism was its surface appearance of simplicity. Life, it said, could be healthy, clean, sensible, if men only took it into their own hands; mysteries, subtleties, contradictions — all these were simply part of the Victorian refusal to face facts, of puritan morality and hypocrisy, of pomposity and vested interest. No nonsense and plenty of healthy humor were all that was needed to blow the fog away.If his homosexual tendencies alone explained this, we could recognize the cause and pass on; but it is impossible not to think that the freedom for which Butler fought was in any case a selfcentered and isolated one. In his own life he paid dearly for any emotional attachments he formed to men, and he got out of Miss Savage’s emotional attachment to him with a deserved bad conscience. The truth is, I think, that Butler’s fight against his parents was logically more than just parricide: it was a denial of the family as a unit at all. The family for Butler was the essence of the Victorian prison house. Capitulation to family life was the end of Butlerian freedom; only perhaps a marriage like Shaw’s, which brought one solid dividends, would really win Butler’s approval. Wilson's medals, then in private ownership, were shown on the BBC Television programme Antiques Roadshow in August 2018. [18] Bibliography [ edit ] Novels [ edit ] Meanwhile, there was another problem coming to dominate considerations of Wilson's work – even the early books – which lies, ironically, in the very qualities for which, at the time of publication, they were most praised. This is the sheer efflorescence of their social detail, a determination to pin the characters down by way of supporting illustration that sometimes renders them stone dead, like a lepidopterist's butterflies pinned to a display board. So Priscilla in "Such Darling Dodos" is said to be dominated by pathos: "it had led her into Swaraj and Public Assistance Committees; into Basque relief and child psychiatry clinics … it fixed her emotionally as a child playing dolls' hospitals." One can applaud the psychology, while wondering whether, 60 years later, this torrent of minutiae doesn't require footnotes. Three volumes of short stories were published – The Wrong Set, Such Darling Dodos and A Bit Off the Map. Faber Finds are reissuing these original selections.