Colin McCahon, The Virgin and Child Compared (1948). Collection of Hocken Library, Dunedin. Charles Brasch Bequest (1973). Copyright Colin McCahon Estate.
Reading Charles Brasch in Oxford
Charles Brasch’s contribution to the birth and growth of New Zealand culture was immense, and is still in many ways under-appreciated or unaccounted for. He was the founding editor of Landfall, the quarterly journal started in March 1947 that showed New Zealanders as well as the world what was unique about the writing, art and music produced in the country—we all know that much. He wrote poems himself, he collected the art of all New Zealand’s mid twentieth-century modernists (and then donated them all to the Hocken Library in Dunedin). He journaled fastidiously, which now, after Peter Simpson’s tireless work, gives us an account of the growth of our culture. But Brasch’s manner of philanthropy was the very best kind: he was always behind the scenes, providing money at just the right time and place where it was needed to support an artist, to publish a book or to start a fellowship. I say “but” about his philanthropy because that now means we will likely never know of or trace the extent of his contributions. Even his diary did not hear of his benevolence.
It has seemed to me then a little ungrateful that Brasch’s Wikipedia page points out, in the very first paragraph, that he gained an “ignominious third” in his Modern History course at Oxford in the late 1920s. I cannot think of any other public figure in New Zealand or elsewhere for whom undergraduate grades feature so prominently in their public biography. Brasch, however, was adamant, as he pointed out in his memoirs published posthumously: “I had not come to Oxford to get a degree”. And judging by his Oxford reading, he got from his time here exactly what he needed.
“One of the very few things I could remember of my first term was lying on my sofa through long damp grey days and reading Katherine Mansfield’s Journal, which seemed (in recollection) to set the mood of the whole term. In fact I devoured the Journal in two days… In that same term, I think, I began to read Plato…”
And just a few years later that undergraduate truant reading would serve Brasch well in one of his life’s most important moments. Sitting by his grandfather Willi Fels’ bedside during his last days—Fels, his maternal grandfather who essentially raised him and was the only one to support him in the decision to become a poet—Brasch read aloud to him the Phaedo, the recollection of Socrates’ death, excluding only those paragraphs he couldn’t bear to read. It was those paragraphs he couldn’t bear to read that were then read aloud, decades later, at Brasch’s own funeral.
His reading was immense, but unfocussed. In addition to the above we know that Wilde and Pound, Brooke and Graves were particularly important during his Oxford years. Brasch published just one poem during his undergraduate years, right before he graduated and went down to London; but this didn’t stop him paying Basil Blackwell a nervous, and unsuccessful, visit about the possibility of publishing a book. His calling to poetry at times seems driven more by an aesthetic sensibility than an inborn talent. Certainly he was not anywhere near the talent of Auden, who was at Oxford at the same time, or Baxter, whose superior talent Brasch immediately recognised and supported (he never seems to have been a jealous writer; maybe this fact explains the limits of his critical success).
Brasch suggests it was partly Plato, partly a flirtation with Buddhism, and partly the lives of other writers (their vegetarian diets) that meant “notions of purity obsessed me… By fits and starts I made several ineffectual bids towards purity. The purity I believed I longed for failed to distinguish properly between what goes in at the mouth and what comes out of the heart.” Brasch, of course, as one of the inheritors to the Hallensteins clothing empire, had the means for an aesthetic life—a life of lavishness and luxury, if he so wanted. But notions of the ascetic are always strongest in those for whom it is a choice rather than a necessity. “Fortunately,” Brasch goes on in his memoirs, “my will was weak and my senses strong, so that I did not fall into puritanism, but continued in a cloud of contradictions, not knowing what I wanted except that I wanted to write poetry. Of these inner cross-currents I spoke to no one.”
The inner cross-currents of which he spoke to no one could be seen as those tides that shaped his life. His sexuality and love life, for one thing (always tortured), but also more immediately, in his post-Oxford years, that of his vocation. Though he thought of himself always as a poet, his life and posthumous reputation seem to rest on his role as “literary editor” and “arts patron”, as Wikipedia, ever reflecting the public sense, puts it. Or, as he put it, reflecting on his most tortured period and the reaction of his father: “Was I going to be a drifter, sticking at nothing? an idler? a dilettante? I could not explain adequately, because I had not the courage or conviction to avow my secret hopes.”
Landfall certainly dominated his days, to the extent that friends at times advised him to give up the editorship if he was to keep writing poetry. The myriad tasks and constant letter-writing kept this man of leisure busy, or at least busier than Baxter, and then again we find him organising shows of McCahon’s work in Christchurch, for instance, without telling either his diary or Colin. We come up again against Brasch’s old-world decorum, more than just the result of an Oxford education of the late 20s—a fundamental drive to do for others (for a nation) what his means allowed him to, all without any desire for or expectation of credit or recognition.
Fortunately for us, even if we can’t know of all Brasch’s deeds, we can find the products of them—most significantly, in Dunedin, the city that was for him always home. The Hocken Library of the University of Otago possesses one of the best art collections in the country, in large part thanks to Brasch (gifts and bequests tend to snowball as more people see the stature of an institution through what has previously been donated). Rita Angus’ View from Tinakori Road is there; so too is McCahon’s The Virgin and Child Compared, to name just two personal favourites of over 450 artworks. His personal library of over 7,500 volumes also lives at the Hocken, and so far under-explored is Brasch’s collection of international art and prints that were separated from the main bequest and given to the Dunedin Public Art Gallery.
As I sit here in Oxford, “through long damp grey days”, reading Brasch’s journals and memoirs, Dunedin comes into focus. Dunedin, and all the places and people Brasch visited and wrote of. They become centre and I am living at the margins, unable to see or read or connect with that which is most important to me (except for those few books that, thankfully, the Bodleian happens to stock). Distance indeed looks our way, as that famous line of Brasch’s poem, “In These Islands“, tells us.
Walking this evening past Brasch’s old rooms with their views out onto the Elm trees of St. Giles, it came clearly to me how a culture is built, how it moves forward, how it communicates more and more life. It gains life and communicates it because of the individuals who decide there isn’t enough of it, and who decide to devote their lives to creating more of it. It is simple, in retrospect; but looking forwards, for the young man flunking Oxford with an ignominious third, it must have looked like the most difficult thing in the world.
More on Charles Brasch:
Charles Brasch. Indirections: A Memoir. Oxford University Press, 1980.
Charles Brasch. Journals. 3 volumes, published by Otago University Press.
Charles Brasch. The Universal Dance: A selection from the critical prose writings. Otago University Press, 1981.
Charles Brasch. Present Company: Reflections on the Arts. Blackwood & Janet Paul Ltd, 1966.
James Bertram. Charles Brasch. Oxford University Press, 1977.
Sarah Quigley. A World Elsewhere: a critical and biographical study of the European influence on the life and work of Charles Brasch. DPhil (PhD) thesis at the University of Oxford. (One copy available at Oxford’s Weston library; I couldn’t find an online version).
Donald Kerr (editor). Enduring Legacy: Charles Brasch, Patron, Poet, Collector. Otago University Press, 2003.