Modern Mind

time to forgive Picasso. See also Benson, Op.
cit.,
page 64 for Orwell’s reactions to the war.
    66. George Orwell,
Homage to Catalonia,
London: Martin Secker & Warburg, 1938.
    67. J. E. Morpurgo,
Allen Lane: King Penguin,
London: Hutchinson, 1979, page 80.
    68.
Ibid.,
pages 81–84.
    69.
Ibid.,
pages 92–93.
    70. W. A. Williams,
Allen Lane, A Personal Portrait,
London: The Bodley Head, 1973, page 45.
    71. J. B. Priestley,
English Journey,
London: Heinemann, 1934; Penguin, 1977.
    72. F. R. Leavis,
Mass Civilisation and Minority Culture,
London: Minority Press, 1930. (Actually issued by Gordon Fraser.)
    73. Ian MacKillop,
F. R. Leavis: A Life in Criticism,
London: Allen Lane, The Penguin Press, 1995, pages 74–75. I. A. Richards, whose 1929
Practical Criticism
embodied this view, and became very influential, later moved to Harvard, where this approach became known as the ‘new criticism.’
    74. Q. D. Leavis,
Fiction and the Reading Public,
London: Chatto & Windus, 1932; Re-issued: Bellew, 1990.
    75.
Ibid.,
pages 199–200.
    76. Williams, Op.
cit.,
52ff compares them with the BBC’s Third Programme. He says it was the most decisive event of the company, linking it also with the Council for the Encouragement of Music and the Arts, the forerunner of Britain’s Arts Council.
    77. Morpurgo, Op.
cit.,
pages 114–116.
    78.
Ibid.,
page 116.
    79. Williams, Op.
cit.,
page 54.
    80. Morpurgo, Op.
cit.,
page 131.
    81.
Ibid.,
page 135.
    82. J. K. Galbraith,
The Age of Uncertainty,
London: BBC/André Deutsch, 1977, page 203.
    83.
Ibid.,
page 204.
    84.
Ibid.,
page 211.
    85. Robert Lekachman,
The Age of Keynes,
London: Allen Lane, The Penguin Press, 1967; Pelican Books, 1969, page 72.
    86.
Ibid.,
pages 80–84.
    87. The phrase is Robert Skidelsky’s in his biography of Keynes: Skidelsky, Op.
cit.,
volume 2, chapter 13, page 431.
    88. Galbraith, Op.
cit.,
page 214.
    89. According to Skidelsky, publication of
The General Theory
was followed by ‘a war of opinion’ among economists. Skidelsky, Op.
cit.,
page 572.
    90. Galbraith,
Op. cit.,
page 218.
    91. Lekachman, Op.
cit.,
page 120.
    92. Galbraith, Op.
cit.,
page 221.
    93. Bergonzi, Op.
cit.,
pages 112–114, and 126–127.
    94. Bergonzi, Op.
cit.,
pages 61 and 112.
    95. Cole Porter, ‘You’re the Tops’, 1934. This was ‘quasi-Marxist’ on Porter’s part, according to Bergonzi, Op.
cit.,
page 127.
    96. See John Gloag,
Plastic and Industrial Design,
London: George Allen & Unwin, 1945, page 86, for a basic introduction; also polythene.
    97. Stephen Fenichell,
Plastic, Op. cit.,
page 106.
    98. Burr W. Leyson,
Plastics in the World of Tomorrow,
London: Elek, 1946, page 17, underlines how rapid the acceptance of cellophane was.
    99. Farben also produced a synthetic emerald in 1934. See: David Fishlock,
The New Materials,
London: John Murray, 1967, page 49.
    100. Fenichell, Op.
cit.,
pages 152–153.
    101.
Ibid.,
page 161.
    102.
Ibid
., pages 150–151.
    103.
Paul Johnson, A History of the Modem World, Op. cit., page 247.
    104. Michael Mannheim (editor),
The Cambridge Companion to Eugene O’Neill,
Cambridge: Cambridge University Press, 1998, page 1.
    105. Louis Shaeffer,
O’Neill: Son and Playwright,
London: J. M. Dent, 1969, pages 69–70.
    106. Stephen Black, ‘Cell of Loss’, in Mannheim (editor),
Op. cit.,
pages 4–12. Shaeffer,
Op. cit.,
page 174.
    107. Normand Berlin, ‘The Late Plays’, in Mannheim (editor),
Op. cit.,
pages 82ff.
    108. O’Neill said Hope’s was based on three places ‘I actually lived in.’ See: Arthur and Barbara Gelb,
O’Neill,
London: Jonathan Cape, 1962, page 296.
    109. This is a post-Darwinian vision but O’Neill also admitted to being influenced by Jung. See: Egil Törnqvist, ‘O’Neill’s philosophical and literary paragons,’ in Mannheim (editor),
Op. cit.,
page 22.
    110. Shaeffer, Op.
cit.,
page 514. See Mannheim, Op.
cit.,
page 85, for the point about ‘waiting for Hickey.’
    111. David Morse, ‘American Theatre: The Age of O’Neill,’ in Marcus Cunliffe (editor),
American Literature since 1900,
London: Sphere, 1975; Penguin edition 1993, page 77.
    112. Berlin,
Op. cit.,
page 90.
    113. According to Shaeffer, Op.
cit.,
page 510 ff, this is the least autobiographical part of the play. O’Neill made the Tyrone setting far more claustrophobic than was the case with the O’Neills themselves, who went out for meals.
    114. See Arthur and Barbara Gelb,
O’Neill, Op. cit.,
page 93. Berlin,
Op. cit.,
page 91.
    115.