UNDER THE HAT

I thought it might be jolly to pen the occasional blog looking in a little more detail at the lives of Capuchin authors. The man behind our second best-selling title - Michael Arlen and The Green Hat respectively - launches this initiative.

Arlen was born Dikran Kouyoumdjian in Bulgaria, to Armenian parents, in 1895, but established his reputation in England during the 1920s. His works were first published in magazines and took the form of essays, book reviews, personal essays, short stories, and a play. Arlen moved into the romance genre, to which he added the spices of psychology, the supernatural and horror, culminating in a defining book of short stories called These Charming People (which we published last year).

All this work coalesced into The Green Hat, which, with its (then) racy story and brilliant description of its times, propelled him to instant fame and fortune. The book became a broadway play and was filmed twice, as A Woman of Affairs and Outcast Lady. The former was a silent film starring Greta Garbo, and deliberately understated or avoided altogether what were considered the highly charged subjects of the book, this reticence also motivating the change of name.

In subsequent work, Arlen again experimented with different genres and fantastic themes, producing a dystopian novel and an adventuring detective - Gay Falcon - who became the subject of several mystery films. He never, however, recaptured the peak of success attained by The Green Hat.

The various phases and locations of Arlen's life and career brought him into contact with many notable figures, including Aldous Huxley, D.H. Lawrence, Nancy Cunard and Countess Atalanta Mercati, who he married. Having had his loyalty to Britain questioned in the House of Commons (due to his Bulgarian nationality and the complications arising therefrom), Arlen moved to New York in 1946, where he died ten years later.


David

THIS CHARMING WRITER

I'm enjoying our recently released edition of Michael Arlen's These Charming People. Arlen's novel The Green Hat is our best-selling title, and he is obviously a writer whose literary resurrection has met with the approval of many readers.

The stories are beautifully written, describing powerful emotions and dramatic situations with an acute power of observation and expression, and often using repetition to add energy and impact to the narration. Here's an example of the style from When the Nightingale Sang in Berkeley Square (the inspiration for the song):

....she lay still on the sofa by the windows, her head deep in the hollow of a crimson cushion, her eyes thoughtfully on the ceiling, which was high enough to refuse itself to exact scrutiny in the affected light of four candles.

Arlen also excels at a bitter-sweet depiction of the relationship between the sexes, albeit from the perspective of his own times; from Introducing a Lady of no Importance and a Gentleman of even less:

....for women are sometimes like sea-birds, they sometimes worship stone images, men who are carved of the rocky stuff of life...

Short stories are not the most fashionable form of fiction, but these exemplify the potential of this form to produce small gems of great literary worth and emotional significance.

David

BRIGHT YOUNG PEOPLE

This is a very welcome and interesting guest blog from David Butler, who is active in the Anthony Powell Society.

A few years ago I embarked on some research into the life and works of Michael Arlen – a novelist of whom I hitherto knew nothing – on behalf of the Anthony Powell Society. The Green Hat makes a brief appearance in the first novel of Powell’s 12-novel sequence A Dance to the Music of Time. I don’t claim to be an expert now, and am still working my way through the novels and short stories of Arlen as I come across them, but for a Powell devotee, The Green Hat is relevant because it forms the subject of a brief exchange between the narrator, Nick Jenkins, and his fellow Oxford student JG Quiggin, a scene which takes place in the early 1920’s when The Green Hat was newly published and all the rage. Powell obviously knew, even though he was writing in the early 1950’s, that he could use Arlen’s most famous work both to position the scene in time and to highlight aspects of his own characters’ personalities, without needing to do more than reference the work in passing.

Anthony Powell did meet Michael Arlen on one occasion, although not until shortly before Arlen’s death. But the influence of The Green Hat had come early upon Powell: as he related in his memoirs, on coming down from Oxford he first took up residence in Shepherd Market because he was inspired by the seduction sequence which opens that novel in (as Powell describes it) “that small village enclave…so unexpectedly concealed among the then grand residences of Mayfair.” In due course, Powell’s narrator Nick Jenkins would also embark on post-University life from a flat in Shepherd Market.

In later years Powell passed not uncritical judgement on Arlen’s works, as his 1968 Daily Telegraph reviews of The London Venture and The Green Hat reveal. However, Powell did recognize that they convey “an extraordinarily potent whiff of the period.” Now, lots of books do that and not all remain popular for long, but in my opinion this is one of the most important reasons for a continued reading of Arlen. There are plenty of society novels of the roaring 1920’s still in the public consciousness: Evelyn Waugh’s Vile Bodies and Aldous Huxley’s Antic Hay for example; Afternoon Men by Anthony Powell also springs to my mind; sadly that is not in print, but that’s another story. But these all tend to reference the Bright Young People of a very slightly later vintage, whereas Arlen focuses on a generation of people who rather pre-date the BYP’s, a generation who had come out into society prior to 1914 only to find the social and moral certainties of that time ripped apart by the upheaval of war. This gives Arlen’s works a dark side which is not, I think, to be found in quite the same vein elsewhere. Think Nancy Cunard rather than Elizabeth Ponsonby; Gerald March as opposed to Atwater.

Anyway, whatever you make of the books, Arlen’s own importance as a social and literary reference point in the 1920’s is beyond question. The mentions in Anthony Powell’s novels and memoirs are just one example. I found, during the course of my researches, that Michael Arlen touched on so many lives that, to pick up at random any literary or society biography or memoir of the inter-war period gave me a high probability of finding a reference to him, however brief. From Osbert Sitwell to Barbara Skelton, Nancy Cunard to Noel Coward. Quite recently, Arlen got a good airing in The Bolter by Frances Osborne, her biography of Idina Sackville, who was probably a model for Iris Storm.

Even, as I discovered last week to my great delight, PG Wodehouse could not resist slipping an Arlen mention into one of his novels. Not only that, but from the lips of one of his finest comic creations, Madeline Bassett. Let me then give the last word to Bertie Wooster as, in Right Ho, Jeeves (1934), he tells of the Bassett thus:

“ ‘Oh, look,’ she said. She was a confirmed Oh-looker. I had noticed this in Cannes, where she had drawn my attention in this manner on various occasions to such diverse objects as a French actress, a Provencal filling station, the sunset over the Estorels, Michael Arlen, a man selling coloured spectacles, the deep velvet blue of the Mediterranean, and the late Mayor of New York in a striped once-piece bathing suit.”

David Butler

DESIGN OF THE TIMES

While I was on holiday The Independent published a fascinating article on book cover design, under the cheeky heading Covered in Glory. The feature, by Jonathan Gibbs, describes the recent years as "a golden age" for book design, and sets this observation in the context of the perceived threat to the physical book (and the physical book cover) represented by the cyber-gizmos such as the Kindle, which are, many believe, poised Dalek-like on the brink of obliterating print.

Jonathan was kind enough to mention the Capuchin Classics as one of four reprint houses whose output exemplifies good book design. Jonathan says:

Capuchin Classics, by contrast, hark back to the classic Penguin "grid format", with bands of signature mint-green and original illustrations by Angela Landels. For Capuchin's editor-in-chief, Emma Howard, this aspect of the cover design was crucial. "We thought that using line drawings would be a refreshing antidote to the ghastly photographic covers that you see everywhere,".

The article is illustrated with many wonderful examples of the book cover art, including our own The Green Hat. This gem of a novel has become our best-selling title, and we are very excited by the forthcoming (January) publication of the same author's These Charming People.

David.