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W.H. Auden, a Biography, by Humphrey Carpenter
PDF Download W.H. Auden, a Biography, by Humphrey Carpenter
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W. H. Auden disapproved of literary biography. Or did he? The truth is more equivocal than it at first appears. Humphrey Carpenter himself neatly summarizes Auden's ambiguity: 'Here, as so often in his life, Auden adopted a dogmatic attitude which did not reflect the full range of his opinions, and which he sometimes flatly contradicted.' Although Carpenter's biography, first published in 1981, was unauthorized, he did receive the co-operation of the Auden Estate, and the results remain of unimpeachable merit. "Carpenter is a model biographer - diligent, unspeculative, sympathetic, and extremely good at finding out what happened when and with whom". (John Bayley, Listener). "An illuminating book; full of information, unobtrusively affectionate, it describes with unpretentious elegance the curve of a great poet's life and work". (Frank Kermode, Guardian). "A deeply interesting book about a deeply interesting life". (Roy Fuller, Sunday Times).
- Sales Rank: #1840097 in Books
- Published on: 1981-09-25
- Number of items: 1
- Dimensions: .0" h x .0" w x .0" l,
- Binding: Hardcover
- 495 pages
About the Author
Humphrey Carpenter was born and educated in Oxford, and attended the Dragon School and Keble College. He was a well-known biographer and children's writer, and worked previously as a producer at the BBC. He wrote biographies of J. R. R. Tolkien, W. H. Auden, Benjamin Britten, Ezra Pound, C. S. Lewis and Dennis Potter. Among his many books for children were the best-selling Mr Majeika series. He also wrote several plays for the theatre and radio. A keen musician, he was a member of a 1930s-style jazz band, Vile Bodies, which was resident at the Ritz Hotel in London for a number of years. He died in 2005.
Most helpful customer reviews
1 of 1 people found the following review helpful.
Good Straight Bio of the Great Auden
By reading man
This is the second biography of Auden written, the first being by his friend Charles Osborne. Carpenter clearly had access to a lot more biographical materials, letters, diaries, interviews, the works, so his account can be called "full-dress", Osborne's more anecdotal. Anecdotal is also a fair description of some shorter books about Auden (AUDEN IN LOVE, WYSTAN AND CHESTER, etc.), and Davenport-Hines, though well-written and cogitated, is too short to be "definitive".
The trouble with the book is that Carpenter is insufficiently critical, though to be fair he says that he's writing a straight biography, not a life with literary criticism included. But the trouble with that is Auden didn't have a very eventful life, and the most interesting and exciting parts of it were his ideas and what he did with them in his poetry and criticism.
Mendelson's EARLY AUDEN and LATER AUDEN, which are intellectual biography, are, therefore, really a better choice to understand Auden's life, with Carpenter as a supplement for minor details.
But Carpenter's book is worth reading for what it is, and it would be very unAudenish to criticize him for not doing the job he didn't intend to do.
8 of 9 people found the following review helpful.
"We must all love each other or die"
By M. A Newman
I think that some of the reviews of Humphrey Carpenter's book on Auden have undervalued its contribution to a genuine understanding of both Auden the man and his work.
To begin with, no life of Auden could avoid the taint of being "gossipy." Auden led a completely messy life complete with all manner of free and easy sexual encounters. Auden not only led this kind of life, but documented it for the amusement of similarly inclined friends. No one who examines the primary source documents, letters, diaries and even poetry can do anything more than to write a gossipy life. When not only menages a trois, but menages a quatre are the norm, it is impossible to write any other kind of biography unless the naughty bits were rendered in Latin as they were formerly in Suetonius..
What I liked about the book is that Carpenter breaks Auden's inner life into three distinct phases. At Oxford he was under the spell of D.H. Lawrence and even Freud. During the hungry thirties, like most European intellectuals, it was Marx and Communism. It appears that time in Spain contributed to Auden's disillusionment with "the God that failed." His third intellectual period was more orthodox embracing the Anglicanism of his youth and Kirkegaard coincided with his the beginning of his years in New York City.
For me, Carpenter's book filled in a number of blanks for me, mainly concerning Auden's emigration. Knowing more of the work than the man, I was under the impression that Auden decided to take up residence in America at the beginning of World War II rather than nearly a year before. His return to Oxford and Britain coincided with failing health and desire to return to his native land (though still an American citizen).
Another aspect of the work that I noticed was a shift in Auden's work in his later years. Critics have, I think unfairly, blamed the decline in quality of the poems on residence in America. What I think Carpenter demonstrates is that while Auden's poetry lost some of its edge, Auden was becoming more settled, more domestic in his later years and perhaps for this reason the themes involved more commonplace topics. Perhaps in reaction to these critiques, Auden tended to disown some of his more important poems, including the famous "September 1 1939", with its indictment of the thirties as "a low dishonest decade" (a poem that had particular resonance for me after the financial crash of 2008).
The picture that Carpenter paints of Auden is a person who probably would be better read than lived with. He was in a constant state of dishevelment and his living quarters were always characterized by visitors for the profound state of untidiness. Still Auden did write some of the best verse of the 20th century and even branched out less successfully into the fields of opera (Stravinsky's "Rake's Progress) and even the theatre (the work here seems to be dreadful, proving no one can be good at everything). As a teacher, his methods appear to be original and oriented more toward making students think about what they were reading (a sample exam on Elizabethan literature, "explain why the devil is both sad and honest.").
I think that Carpenter does an admirable job in this life of Auden. I think that other than a thorough read of Auden's collected works (and there is yet to be published a single good collection), this is probably as good a work on Auden as one is likely to find.
6 of 7 people found the following review helpful.
Best Auden Bio
By disco75
Having read Carpenter's bio after February House, Wystan and Chester, and The Berlin Years, I feel as though I came to know the man (rather than the celebrity) only with Carpenter's portrayal. This bio is written in a dignified, articulate manner that does not, as one might fear with the 1981 publication date, censor the sexuality that is central to who Auden was.
Although Auden was an amateur psychoanalyst, Carpenter does not theorize about the poet's formative experiences as much as he presents the events in a way that lets the reader thread them together. In this way, we can see that the marital relationship to Kallman was a reflection of the maternal attachment that also was reflected in Auden's spiritual development, his political leanings, and his writing goals. We watch as his life changes after Kallman was largely residing in other countries without a formal break, and can speculate how the marital relationship grounded his friendships, teaching style, and writing. We witness the heartbreaking effects of stimulant and alcohol addiction on his face, his socializing, his memory, and his residence. We can enjoy the sweep of history that Auden participated in and become fascinated by his cohort.
The book is detailed without being dense. The poetry is vital to the story but this is not a literary analysis, rather a full-blooded biography. Auden was often a comical character as well as intellectual, giving Carpenter many chances to have the reader laughing out loud.
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