My copy of Evelyn Waugh’s Vile Bodies (I read the one in the picture) had an intro by Waugh that stated that, at one point in the writing of the book, he’d gone from gleeful to bitter–although he doesn’t say so, I assume it’s because of his divorce from his wife (it’s his own fault. When A dude named Evelyn marries a girl named Evelyn, it can’t end well).
That comment began to worry me about halfway through the book. You see, the first part of Brideshead Revisited is one of my favorite pieces of writing ever. The description of aristocratic college life in the 1920s has always seemed to me to represent a perfect idyll (and if you want more of it, but from the academic side, I strongly recommend The Inklings of Oxford), while the second half, the “serious” half, dropped off sharply. I was enjoying the pell-mell anarchy of Vile Bodies, and I didn’t want that to happen in this one.
Luckily, it wasn’t possible–at least not for me–to easily separate Waugh’s biting satire of the “gleeful” part from the bitterness he says happened in the second section. Not on a first reading, anyway.
The book continues as it started, with the nuttiness of young people discovering their independence in a time just coming off the repressive age. While it can’t rival Gatsby as the ultimate expression of the Roaring Twenties, it does give you just enough reality beneath the exaggeration to give one a sense of what the London scene looked like.
As with Gatsby, it was a great time to be alive (as long as you were in the right set, of course).
The temptation here is to compare this one with Scoop, as they are both similar in conception: take an institution (journalism in Scoop, the Bright Young Things in Vile Bodies) and go to town on the satire. It’s a valid comparison, but Scoop is both funnier (unless you’re easily offended, in which case we pity you) and more chaotic, while Vile Bodies, though good, does fall a little flat at the end. It’s probably very symbolic, but I’m reading this one as a regular reader, for the fun of it, and have little interest in social commentary about stuff that happened almost a hundred years ago.
As such, it’s a good book, and I have yet to find a Waugh that I didn’t like, but it isn’t quite up to the wonderfulness (I was sure the autocorrector would clobber wonderfulness, but apparently it’s a real word. Who knew?) of the first half of Brideshead and the entirety of Scoop. Still better than most everything else, of course.
Read Waugh. Don’t let his books go out of print. If not for you, do it for future generations.
Gustavo Bondoni is a novelist and short story writer. His literary fiction is collected in the linked story Love and Death. You can check it out here.