The Writers’ & Artists’ Yearbook 2017 is undoubtedly right to intone the mantra ‘edit, review, revise and then edit again’, but when you have read your 420-page typescript as many times as I have in the last six months, and made over a thousand changes, you need some specific stimulus to make you read it closely yet again.
A fortnight ago, that stimulus came along in the form of the discovery of the Visitors Book for Acton Reynald, the nineteenth century home of the Corbet family in Shropshire. A sensational find! Lady Caroline (Nina) Corbet had first met Kittie when they were very young, they became inseparable as teenagers, it was known that Kittie stayed at Acton Reynald many times until Nina remarried in 1913, and Nina got on well with George.
Visitors Books are invaluable to biographers. The one for Foxwold (q.v.) exists, and Mr John Pym deserves a medal and my undying gratitude for having copied out for me every entry for the Calderons from 1912 to 1940. If only the Visitors Book for nearby Emmetts existed too, as the Calderons were regular visitors and it would help date, for instance, George’s Cinderella: An Ibsen Pantomime, which was first performed there.
The Acton Reynald Visitors Book has a very special significance. I had worked out long ago from circumstantial evidence when Kittie and, I presumed, George, stayed there. For instance, it was clear from the envelope of a letter written by William Rothenstein to Kittie after settling George on his ship to New Zealand in a delicate nervous state in 1906, that Kittie did not see George off herself, she left for Acton Reynald to stay with Nina Corbet. Similarly, a letter from George at St Andrews in December 1909, following the Glasgow premiere of his translation of The Seagull, reveals that he and Kittie are off to spend Christmas with the Corbets at Acton Reynald. On other occasions, for example the funeral of Nina’s husband Walter on 23 December 1910, I had assumed both Kittie and George were present, and in the latter case stayed on until New Year as they had the year before. But only the Visitors Book could confirm such things and supply firm dates.
I cannot thank the descendants of Walter and Nina Corbet warmly enough for finding the Acton Reynald Visitors Book, copying out every entry for Kittie and George from 1893 to 1913, and supplying me with images of many of them. It is an amazing document in itself. Clearly the Corbets welcomed a steady stream of guests. Many of the names in the image below are familiar. For instance, G. Ormsby Gore, below George’s signature, is 3rd Baron Harlech, Sir Walter’s commanding officer in the Shropshire Yeomanry. The mysterious Mr Jones, placed between Kittie and George, is their dog.

A page of the Acton Reynald Visitors Book for 1902
The first entry for Kittie (with her mother) is Christmas 1893, two years after Walter Corbet inherited the baronetcy and moved into Acton Reynald. In August 1894 she stayed there with Archie Ripley, who was to become her husband the following year. However, Ripley never visited Acton Reynald again before his death in October 1898, although Kittie did, both alone and with her mother. (Bear with me, this may be significant.)
George first stayed at the Corbets’, with Kittie, in September 1901, ten months after their wedding, then again in 1902 and 1903. After that, though, I discover from the Visitors Book that the pattern changed somewhat. I had assumed they both attended Lesbia Corbet’s christening on 18 March 1905, but in fact only Kittie (one of the two godmothers) did. Kittie’s next visit to Acton Reynald was as George was leaving for New Zealand/Tahiti in April 1906, when she stayed (with Mr Jones) for over a fortnight. In 1907 both Calderons were at Acton Reynald in August, but George absented himself for a week on a lone walking holiday. The only other occasion — according to the Visitors Book — that George and Kittie were together at Acton Reynald up to January 1913 was the Christmas of 1909, whereas Kittie visited on her own four times and probably more.
What struck me first from the Visitors Book is that, contrary to my assumption, George never accompanied Kittie on any occasion that was particularly personal for Nina, viz. Lesbia’s christening, Walter’s funeral, or Nina’s second wedding at the Corbet family church in January 1913. It is extraordinary that George did not attend the funeral of Sir Walter, whom Kittie described as ‘nice to look at and nice right through’ and whom George, as far as I can see, liked. Kittie stayed with Nina afterwards for a fortnight. This took in the whole of the Christmas season 1910. So where was George? He had been at Acton Reynald with Kittie the Christmas before, but that was his last recorded visit ever.
Of course, there could be practical reasons why he was not with Kittie in 1905, 1910 and 1913. In 1910 both he and Kittie may have been committed to spending Christmas with the Lubbocks at Emmetts, Walter Corbet died after a short illness on 20 December, the day Kittie arrived at Nina’s side, and perhaps they had agreed that one of them, at least, should keep the Lubbocks’ invitation. In January 1913 George may have been ill. However, there is no obvious reason why he could not travel to the christening in March 1905.
Naturally, I don’t wish to compose a spoiler to my book, but the relationship between Nina Corbet and Kittie vis-à-vis Kittie’s two husbands is a vital thread in it. Nina and Kittie’s relationship long predated Kittie meeting Archie Ripley and George Calderon. It seems to have been about as close as friends can be. They had often slept in the same bed together as children and teenagers, but there would be nothing unusual at the time about that. When Kittie was depressed, Nina promised to ‘coodle you up, and up and up’, which was presumably Edwardian for ‘give you a really good cuddle’, whatever that involved. Even after Nina married, Kittie would accompany the couple on tours as a companion and chaperone, and when accommodation was divided by gender they again shared a bed. However, in letters that were meant to have been burned after Kittie’s death but miraculously turned up in another part of the country six years ago, Archie Ripley makes it clear that he has to draw the line at vacating the marital bed for Nina when she comes to stay after their marriage. Kittie insisted on telling George all this before they agreed to marry, which is probably why George was afraid Nina would ‘dissuade you [Kittie] from loving me’; but Nina didn’t. The biggest problem Kittie had during George’s courtship of her was his physical passion compared with Ripley’s, who seems to have been transiently homosexual.

Caroline ‘Nina’ Corbet, c. 1890
So did George accept Kittie’s very close relationship with Nina Corbet? The evidence is, yes. He understood that Nina needed Kittie; she needed her for comfort, advice, understanding and joie de vivre in all kinds of (documented) situations after entering into what was essentially a dynastic marriage of convenience. I don’t think George was always happy with the situation, any more than Ripley was, for obvious reasons, but George decided he must respect that side of Kittie’s life and let her pursue it freely. You will have guessed, then, that what I feel the newly discovered Visitors Book demonstrates is that George decided to leave himself out of the relationship at Acton Reynald whenever he could. The closeness of the two women’s bond, incidentally, is movingly borne out by another discovery made at the same time. They had always called each other ‘My T’other’. On an unknown New Year’s Eve Nina addressed an envelope ‘For my T’o.’ and enclosed a card in French with a pansy on (for pensées) and a French phrase meaning ‘My last thought is of you, 31 December 11.59 p.m.’. In a word, all this new material suggests that Kittie’s relationship with Nina was even more exclusive than I had thought before and the Calderons’ marriage more ‘open’ on that side than I had suspected.
The key document here is George’s letter of 17 August 1902 to his friend the French Slavist Paul Boyer; a letter that Boyer, in his reply of 15 November 1902, described (in English translation) as ‘a veritable moral diagnosis, which I shall preserve as a precious document exposing the “state of mind” of the English of our day’. A key document…which unfortunately has not survived in Boyer’s archive in the Bibliothèque Nationale de France.
It is not difficult, however, to work out from Boyer’s letter what George had told him. Boyer had asked George ‘an indiscreet question: one of those that we are sometimes rather embarrassed to ask men of your nation’, viz. about English sexual mores and ‘hypocrisy’:
I think you are absolutely right and your analysis of the English character in this matter is perfectly just, viz. that (1) they display “modesty”, (2) they have a secret “tother-thing”. Personally, from what I know of England and the English myself, I don’t share the opinion of so many continentals that the English are essentially hypocrites. What some call English hypocrisy is in reality merely their natural reserve. […] I am very touched by the frankness of your reply.
Boyer, surely, could not have known the significance for George of that particular spelling ‘tother’. In cruder times, ‘tother-thing’ may sound uncomfortably like ‘a bit on the side’. But I think this is to underestimate the other word, ‘secret’ (i.e. reserved). By ‘modesty’, I think, George is referring both to fidelity to the contract of marriage and continence in extramarital relationships. Perhaps he even meant it is a single, exclusive extramarital relationship, as in the case of Kittie. And this is kept not only ‘discreet’ but ‘secret’. Within the Edwardian marriage, then, there would be no hypocrisy, just an acceptance of the ‘t’other’. The trouble is, of course, that we think of this as the classic Edwardian vice of ‘keeping up appearances’. Yet for the Calderons, say, or the Newbolts (a live-in Lesbian and heterosexual threesome), there were no appearances to keep up: everyone involved knew the situation, accepted it, and regarded it as nobody else’s business.
An acquaintance with the volumes of À la recherche du temps perdu set in the Edwardian period suggests that Boyer was probably amazed by the difference between British and French sexual mores, just as one might be today on learning of the French ‘5 to 7’!
If the above was George’s belief about English arrangements within marriage, did he have a secret ‘tother-thing’ himself? I used to think not, because of the unfailing love and tenderness of his letters to Kittie. However, I know of at least four women in their twenties with whom George inimitably flirted when he was in his thirties and older; but no Edwardian would have paid any attention to the age difference, as it was normal for men to marry in their thirties women who had just reached twenty-one (the Corbets, and the Wrens in The Fountain, would be cases in point). There is absolutely no evidence that George’s relationships went beyond flirtation, but then there wouldn’t be, would there? Two sentences in his anti-suffragist pamphlet of 1908 have always intrigued me:
We men, with few exceptions, are all Mormons at heart. We have made the great sacrifice of monogamy, and much must be forgiven us.
Is there a touch of guilt about these assertions? The idea that we are ‘all’ potentially promiscuous, and there is a lot we must be forgiven, might suggest it. And what if women too had made ‘the great sacrifice of monogamy’?
Yes, the Edwardians were masters of ‘discretion’ — what today we might call secrecy, spin, disinformation, or downright hypocrisy. They were so successful at it that for decades their descendants believed the bulk of Edwardians were paragons of monogamous familial rectitude. We have been naive about the Edwardians in this respect, as in so many others. If what George said to Boyer about the ‘tother-thing’ was widely true, the Edwardians’ attitude to amorous and sexual arrangements was far less hypocritical than the Victorians’: it was actually a ‘reserved’, un-self-advertising recognition of gender reality.
So the discovery of the Acton Reynald Visitors Book, related material, and previously unknown testamentary documents of Kittie’s, has led to my tweaking dates, facts and statements throughout my biography. This may not amount to much new text, but the shift in presentation of George and Kittie’s marriage is significant. And re-reading my whole text, I was struck for the first time how the penultimate chapter, which recounts Kittie’s life 1915-22, is actually the most visceral, because it includes the impacts of both George’s and Nina’s death on her.
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Paragraph three of my ill-starred but now settled Introduction tells readers ‘There has been a popular interest in the love life of Edward VII and his courtiers, say, or the Edwardian elite’s open display of wealth, and even the life of the Edwardian working class, but the life of the Edwardian professional class is relatively unknown to the nation.’ Even as I wrote it I wondered whether ‘a popular interest in the love life of Edward VII and his courtiers’ was still true, because Anita Leslie’s classic Edwardians in Love was first published in 1972, the TV dramas about Edward’s mistresses Lily Langtry and ‘The Duchess of Duke Street’ also date to the 1970s, and even Diana Souhami’s Mrs Keppel and Her Daughter is twenty years old. But then, last year, the following was published by Biteback:

Click the cover to find this book on Amazon.
Sure enough, the blurb assures us that ‘For Alice Keppel, it was all about appearances’… Keppel was a mistress at managing those, as well as the King. ‘Both intriguing and astonishing, this book is an unadulterated glimpse into a hidden world of scandal, decadence and debauchery.’ From the publishing point of view, the author also has the advantage that Mrs Keppel was the great-grandmother of the present Duchess of Cornwall.

Some notes on orthodoxy
A very happy New Year to all Calderonia’s subscribers, followers, and casual viewers! (If you are one of the latter, please consider subscribing top right.)
This is ‘the year’… Following an almost complete absence of response to my last reminders to half a dozen publishers in December, I have decided to go it alone. I intend to publish George Calderon: Edwardian Genius in a limited hardback edition on 4 June 2018, the anniversary of George Calderon’s death at Gallipoli. The one hundred and fiftieth anniversary of George’s birth is 2 December 2018, when we shall have another selling blitz. I aim to more or less sell out the hardback by this time next year, then transfer to Kindle and Amazon Paperback.
The imprint I’ll use will be my old Anglo-Russian one, ‘Sam&Sam’, which has produced about thirty titles here and there in the last forty years. The printers will be the best in the business, Clays of St Ives. I will explain the origins of the name Sam&Sam in a future post: believe it or not, it involves a fictitious Elizabethan poet…
The not so good news, for potential purchasers, is that the book will cost £30. Jenny Uglow’s beautiful Mr Lear: A Life of Art and Nonsense (which I will review next time) costs only £25, as does Ruth Scurr’s John Aubrey: My Own Life (also printed by Clays), and someone complained to me recently about paying £30 for a new biography (mind you, in paperback). But I feel that the job we make of this book should be worth £30 and it has to do better than break even if I am going to remunerate a smidgeon of my own labour. Moreover, Helen Smith’s biography of Edward Garnett just off the presses, The Uncommon Reader, which is very comparable in length etc to mine, is priced at £30. I would be very interested to hear subscribers’ reactions to this price, and whether they feel it should include postage if they are not be put off even more from buying the book.
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NOW LET ME SAY WHAT A BLISSFUL RELIEF IT IS NOT TO HAVE TO DEAL WITH ANY MORE PUBLISHERS! O FRABJOUS DAY! I AM AS HAPPY AS A LAMB IN SPRING! IT IS SUCH AN IMMENSE, STRESSFUL BURDEN OFF MY MIND AND SOUL! I FEEL AS THOUGH I HAVE RECOVERED MY LIBERTY AND CAN NOW JUST CONCENTRATE ON DOING AS GOOD A JOB AS POSSIBLE OURSELVES!
A Christmas-card correspondent who follows Calderonia wrote that to judge from my blog I had done nothing all last year except look for a publisher. Well, that’s not quite true; for instance, I also created the book of John Polkinghorne’s and my conversations, which is now going the rounds of publishers who have dealt with John before. And, of course, I had to sort the Permissions for the biography, compose the Afterword, the Acknowledgements, the Bibliography, rewrite the Introduction for the umpteenth time, add some new material, check and re-check the body of the text…
But, yes, it has been a year to the week since I opened my campaign to find a commercial publisher, and a hell of a lot of time, energy and nervous fibre has gone into it. Here are the results:
Publishers approached: 47
Firm acceptances received: 2
Rejections received: 18
No responses received: 27
As I have said before, I suppose that to have received two offers from publishers is not bad. It was unfortunate that these offers contained very deleterious downsides and I just had to let them go. Nevertheless, I don’t think the year-long exercise was a waste of time, as I have learned an enormous amount about the realities of publishing at the moment.
The irony, though, is that I have already decided I am never going to use that knowledge, because I am adamant that I am never going this way again. I am not going to go to publishers in future, they are going to have to come to me. This resolution is reinforced by the knowledge that in all the previous cases of commercial publishers publishing my books, I have had some kind of personal contact there first, they have turned to me for the books, and in all of those books not an iota was changed by editors.
Conversely, the kind of publishers I have tangled with over the past year talk about refashioning and rewriting your book (‘editing’) before they have even read it all. It is the same with agents: they immediately tell you how they are going to ‘reconfigure’ your book to ‘position it in the market’. These editors and agents fancy themselves as writers. When I told a writer friend that I had decided to bring out the book myself, he said he was glad because he was sure I would have ‘fallen out’, as he put it, with a commercial publisher, ‘before you had got very far’. That perhaps suggests I am thin-skinned — some publishers and ‘editors’ would doubtless claim so — but I don’t think I am; I think I can truthfully say I have gritted my teeth and borne a lot of …. from people in academe, publishing and the theatre in my time.
The dark side of the year’s experience has been the arrogance, rudeness and sheer inanity of those publishers who have, or more often have not, responded to my exceedingly carefully researched and crafted approaches. Step forward in particular two grey-suited Editorial Directors, one in Cambridge and one in Oxford. The only reason I have not sent them the floral orange card (see my post of 30 November) is that I have only one of it. I know they are literally men in grey suits, because I have seen a video and photographs of them on the Web!
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Obviously, I want to move on as fast as possible. Now is the time, however, to honour the pledge in my post of 30 September 2017 to respond to John Dewey’s well-argued views on the subject. Please refer to John Dewey’s comment of January 2017 and click on the link there to access John’s essay on the Brimstone Press blog. Click here to access George Orwell’s original preface to Animal Farm, which deals with a particular form of publishing orthodoxy in Orwell’s day and which John quotes.
When I set out to find a commercial publisher this time last year, I certainly admitted to myself that I was unlikely to succeed because the ‘bottom line’, the litmus test, was going to be: can it sell 6000 copies? Publishers have repeatedly quoted this figure to me in the past five years. Well, actually, I have always believed they could sell 6000 copies if they marketed it properly. The reason I believed it, was that I thought the book’s story and substance could catch the imaginations of people who can read.
However, really I knew they would tell me they couldn’t sell anywhere near 6000 copies. Why did I know this? Because I sensed deep down that publishers are process-driven people, not risk-takers. This has been borne out by all my experience over the past year. They just want to feel they are in sole control of their ‘process’, as though they were some kind of officials, or cultural civil servants. Hence they create Procrustean beds of ‘series’ that a book can’t, or ‘has to’, fit into, and refer to books as ‘units’. They set up interminable processes of ‘refereeing’ by people who have a vested interest in trashing perceived rivals. There is something Gogolian about publishing today: hardly any of it appears to operate in real time, but in a special chaotic time not corresponding to any known to science or philosophy. I know someone for whom the refereeing and rewriting process ran into the ground after eighteen months, but three years later he was staggered to receive a letter offering him a contract. Most publishing is bureaucratic.
I think John Dewey will agree, however, that the root problem is orthodoxy — what George Orwell in his preface calls ‘the gramophone mind’, the uncritical absorption of ‘the record that is being played at the moment’. What stalled the publication of Animal Farm (I have seen figures from 4 to 37 quoted for the number of times it was rejected) was political orthodoxy, or as we might say today political correctness: the British intelligentsia’s ‘uncritical loyalty to the USSR’ and to the mass-murderer ‘Stalin’ in particular. My efforts in the past year have not suffered from that species of orthodoxy, although it is interesting that numerous kind souls advised me not to mention George Calderon’s anti-suffragism or strike breaking in my approaches to editors, as the latter would immediately reject the book for ‘reasons’ of political incorrectness (on my part, presumably, for taking these subjects seriously rather than censoring them!).
No, the underlying cause of my, John’s, and thousands of other writers’ problems is orthodoxy tout court — orthodoxy of thought and institution. Commercial publishing is a vast agglomerated institution and therefore by nature bound to produce its orthodoxy. It will tend overwhelmingly to play ‘the record that is being played at the moment’. X have published a thin biography of Victoria Beckham, so we should rush one out. We must publish ‘new’ biographies of Shakespeare, Austen or Dickens, even though they contain less than one per cent new material, because people always want ‘new’ biographies of very famous people by well known biographers; it’s a tried recipe that ‘works’. That way orthodoxy always lies, although I would never suggest that orthodoxy does not change or even innovate; it’s not stable, it just changes/innovates/wobbles at the slowest pace necessary for its survival.
Although George Orwell analyses political orthodoxy brilliantly in his preface, what we are talking about here is a general anthropological-psychological phenomenon, which some might describe as simply fear and incomprehension of the new. ‘Nobody we know, nobody like us, has ever heard of George Calderon, so he can’t possibly be worth bothering with.’
I once happened to hear some people talking about me on the other side of the room (it is rather dangerous to have such sensitive hearing) and one said: ‘He’s not an establishment man, he’s never been part of an establishment.’ No, but I am certainly a passionate team-player, especially in the theatre. The point about establishments and orthodoxies is that you can only improve the design of boats by rocking them.