Volume 11
Temporary Kings begins in Venice in the summer of 1958. Jenkins is attending a literary conference organized by Mark Members. There he meets a don, Dr. Emily Brightman, and Russell Gwinnett, an American who plans to write a biography of X. Trapnel. The French writer, Ferrand-Senechal, who was to have attended the conference, has died in a London hotel room; they learn that Pamela Widmerpool may have been present at his death. Jenkins recalls the death of X. Trapnel, some ten years earlier. Widmerpool has lost his seat in Parliament, but has been made a Life Peer. Dr. Brightman reveals Pamela is presently in Venice. Jenkins recalls his father's old one-time friend Dan Tokenhouse, with whom Jenkins worked publishing art books, who lives in Venice.
Jenkins, Gwinnett, and Dr. Brightman visit the Bragadin palace, where they can see the ceiling painting by Tiepolo, a mythological scene of a king (Candaules), queen, and voyeuristic general (Gyges). Present are Pamela Widmerpool and Louis Glober, whom Jenkins recalls from a dinner years ago in England. Pamela and Glober appear to be having some kind of affair. Gwinnett tries to extract some information about Trapnel from Pamela, and Widmerpool arrives, noticibly disturbed about the absence of one of the conference delegates, a "Dr. Belkin." Tokenhouse and Jenkins meet to discuss art and meet Ada and Glober. They all go to see Tokenhouse's paintings. Widmerpool arrives, looking for Dr. Belkin, and Glober buys a painting. Later Ada explains that Pamela wants a role in Glober's film. Gwinnett and Pamela meet at the Basilica, where she grabs him inappropriately. Rosie and Odo Stevens meet Jenkins and Gwinnett. Gwinnett gives Trapnel's Commonplace Book to Jenkins for safekeeping. Jenkins goes to Bagshaw's house and hears of Pamela's naked escapade when Gwinnett was staying with him. Jenkins attends a military reunion, where he sees Cheeseman, who tells him of Stringham's death in the POW camp. Sunny Farebrother explains that Widmerpool may be tried for espionage. A music party is held at Rosie and Odo Stevens's house. Moreland, Audrey Maclintick, Glober, Polly Duport, the Widmerpools, Jimmy Stripling and Mrs. Erdleigh all attend. At the end Moreland becomes ill. As everyone is leaving, Mrs. Erdleigh predicts her own death and tells Pamela to take care. Pamela makes a scene by revealing Glober's sexual habits to Polly and Widmerpool's voyeurism with her and Ferrand-Senechal to everyone else. Widmerpool insults Glober, who punches him. Pamela disappears. Jenkins receives a letter from Gwinnett, discussing Pamela, X. Trapnel, and Glober's death. He then flashes back to one of his final conversations with Moreland, in which the Gyges-Candaules myth, Sir Magnus Donners, and Pamela's mysterious death are major topics. At the very end of the book, Jenkins meets a despairing Widmerpool, on his way to the House of Lords. |
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These are the major characters in this volume, organized by chapter. Chapter 1 Mark Members - organizer of literary conference in Venice Dr. Emily Brightman - a scholar, don at a woman's college Russell Gwinnett - an American scholar, interested in X. Trapnel's life Chapter 2 Jacky Bragadin - rich American living in Venice Baby Wentworth Clarini - Englishwoman married to an Italian filmmaker Louis Glober - rich American playboy, movie director Pamela Flitton Widmerpool - the worst person ever (Doug Presley) Kenneth Widmerpool - now a Life Peer Chapter 3 Dan Tokenhouse - old friend of Jenkins's, amateur socialist artist in Venice Ada Leintwardine - novelist, married to J.G. Quiggin Rosie Manasch Stevens - supporter of the arts Odo Stevens - her husband Chapter 4 Lindsey Bagshaw - now a TV personality Avril, Felicity, Stella - stepdaughters of Bagshaw Sunny Farebrother - old friend of Jenkins Cheeseman - Stringham's commander from WWII Chapter 5 Polly Duport - Jean Templer and Bob Duport's daughter, an actress Hugh Moreland - composer, Jenkins's best friend Audrey Maclintick - woman living with Moreland Mrs. Myra Erdleigh - an eccentric fortune-teller Jimmy Stripling - an old car enthusiast, involved with Mrs. Erdleigh |
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Will Story In Temporary Kings Nick loses his closest friend in The Dance, Hugh Moreland. These men met in their early thirties. Interestingly enough, throughout most of the books their relationship is never really shown as being very strong. Nick never shows the reader how important Moreland is to him until Moreland has died. "That morning was the last I saw Moreland. It was also the last time I had, with anyone, the sort of talk we used to have together," (276, TK). Mostly, these talks that Nick refers to aren't present in The Dance. Nick doesn't reveal to the reader his true emotions and relationship statuses. Perhaps Nick's life, like his friend, is too important to him to reveal. In fact, the reader is never able to get into Nick's life. The Dance is not centered on Nick the narrator, because of this fact. This makes The Dance unusual, because it is centered on a character other than the narrator. This character is Kenneth Widmerpool, and he is not a friend. Widmerpool is the only character, besides Nick, that appears in every book of The Dance. Widmerpool is the main character in The Dance. He comes into Nick's life in many different forms. As a schoolmate in QU, commanding officer in SA, and fellow writer for Fission in TK. Each time Widmerpool reenters Nick's life something exciting happens. The Dance as a whole is much more exciting with every appearance of Widmerpool. Nick seems to feel that his own life is not interesting enough for him to be the main character in The Dance. This series would drag on and on if Nick told us only about himself. Anyway the reader is shown that Nick does not have a large ego, because he doesn't focus on himself, but instead on the world around him. By making Widmerpool the focus of The Dance Powell is able to have a very entertaining story that is able to hold the reader's attention for twelve novels. |
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Doug Presley Russell Gwinnett and Louis Glober, the two main Americans in Temporary Kings, do not present a very obvious or cohesive model of what it means to be American. Gwinnett is a solitary and awkward yet likeable writer, while Glober is an outgoing, movie director and playboy. At the same time we are confronted with Br. Brightman's views on the "transatlantic" (19) visitors, serving to only further complicate attempt to categorize them. The two personalities are not quite so different, however, being both simply permutations of the one true American Way. Gwinnett seems to live a solitary, un-American life. The very first impression that we get of him is that he is a "young American ... the only one of his countrymen attending the conference" (19); already he has been identified as different from the average American. Nick goes on about Gwinnett's personality, stating that "above all there was a sense of loneliness" (21), and describing him as having a "withdrawn, mysterious air, a little uncommon in an American" (48). The atmosphere of Death, one that Gwinnett is repeatedly associated with, is also "not of the American tradition" (49). Perhaps the best characterization of Gwinnett comes from Nick's repeated, yet unsuccessful, attempts to read what he is thinking. During their dinner together, Gwinnett nods while listening to Stevens "without giving any indication whether or not he agreed" (163). Later, once Pamela arrives, he is described as "absolutely poker-faced" (166), and when he first meets Glober he shows no sign of interest in the meeting, as if "holding his cards up to his chest in a manner, to the popular European view, 'un-American'" (97). This solitary and reserved attitude earns Gwinnett, in Nick's eye, the label of someone with whom "everything was within himself" (138), and seems to divide him from his American roots. Yet Gwinnett is undeniably American. His "thin bone formations ... suggested the nationality" and "the movements of the body ... also implied American" (20). His name is inextricably linked to the Declaration of Independence through the signature of Button Gwinnett (97). Hidden in Gwinnett's personality there are also decidedly American aspects. When he first meets Glober he is his usual self, but after a short while he opens up slightly, being "too good an American to persist, after all that, in his earlier, more distant air" (98). He also at times can be quite up front and honest, letting loose on his reservations every so often. When he meets the American couple at dinner he assumes "with his compatriots, a blunt, matter-of-fact, all-purpose air" (162), and in talking with Nick about Dr. Brightman he speaks "in the manner Americans achieve, without self-consciousness or affectation" (156). While Gwinnett is all too often a loner, he does harbor some of the outgoing tendencies that Nick seems to associate with the American Way. Glober, the other main American, seems to be the "antithesis" (138) of Gwinnett. Rather than an outwardly reserved manner, Glober apparently lives in the exact mold of an American, "nothing in the least forced about [his] friendliness" (97). Glober surrounds himself with people, as "continuous companionship ... [is] necessary to Glober all the time" (96), and he seems to "hope for no more than to collect round him as many persons as available" (132). Not at all reserved like Gwinnett, with Glober "what was going on inside remained only there until it could be materially expressed as soon as possible" (138). Glober appears to be, on the surface, the perfectly amiable, and therefore American, playboy-tycoon. Yet Glober cannot always fill the shoes of the typical American. At Stevens' party, Glober is described as "still enormously cordial, [but] in a manner that set him at a distance, put a cordon round him, entrenched his position" (234). Even Glober cannot always fulfill the demands of being an "everyday American" without having to draw back a little bit, retreat into his shell ever so slightly. The two major Americans in the book in one sense seem irreconcilable opposites. Yet as Nick so appropriately describes them, their personalities are really just two "allotropic elements" (99) of the same American Way. Both try to be the outgoing, all around friendly perfect American; neither wholly succeeds. Nick speculates that perhaps they both would have been quite different people were they not out of their environment, and were back "in their own country" (268). Dr. Brightman, however, seems to come closest to the true diagnosis of the American way: "believing all questions have answers, that there is an ideal life against which everyday life can be measured -- but measured only in everyday terms, so that the ideal life would be another sort of everyday life." "It is somewhere at that point" she continues, "that Russell's difficulties lie" (175). There is no final, all-encompassing true picture of an American, all that is left is a goal to strive for, and a country full of people who will never quite reach it. How does Powell characterize Americans? Maybe that's one question that doesn't have a final answer. |
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Luke Spears Mysticism and the supernatural first appear in the Dance with the introduction of the mysterious Myra Erdleigh in The Acceptance World. More than any other character, Mrs. Erdleigh personifies the supernatural, as it continues to affect, sporadically and surprisingly, the course of the series. In Temporary Kings, Mrs. Erdleigh makes what she herself hints at as being her last appearance, and manages to foresee, if not incite, the ruckus that serves as the climax of that book. Because of her intimate relationship with the supernatural, she is a powerful and exotic character, who provides insight into the important, if sometimes ambiguous or subtle, themes of the Dance, while at the same time augmenting the mystery and depth of Powell's world. Mrs. Erdleigh, perhaps like the other "mystics" of the Dance (Trelawney and Scorpio), projects a strange aura of authority and omniscience whenever she appears. It would not be an exaggeration to say that she behaves as if she knows exactly what will come to pass in the future. It would also not be an exaggeration to say that the evidence does not repudiate the existence of such an ability-on the contrary, if anything, it supports the notion that Mrs. Erdleigh possesses fantastic powers of divination. In fact, there is nothing in the book-least of all Nick himself-that suggests that she is anything but extraordinary. This reputation makes her "aura" all the more credible. It is as if she has complete control over every situation, but does not deign to interfere too directly with such worldly matters, perhaps for fear of upsetting some cosmic balance a la Dr. Trelawney. Ultimately, Mrs. Erdleigh offers little more than cryptic predictions and warnings, which can vary from subtle but decipherable (and prescient) riddles to utterly incomprehensible ramblings. With her appearance in Temporary Kings, we see Mrs. Erdleigh (and her "aura") at her most dramatic, invoking the full range of her occult powers. After commenting mysteriously on the mobile spirit of Thomas Vaughan, the allegiances of Isobel's horoscope, and the nature of Trelawney's "ascension," she hints that her own death (or achievement of the "Eighth Sphere to which Trismegistus refers") is not far off (246). Judging from past predictions, the reader can infer from Mrs. Erdleigh's claim that she "shall leave for the wings ... before the drama is played out," that we are seeing her for the last time, and can probably guess to what "drama" she refers (246). It is later in the evening that Mrs. Erdleigh truly demonstrates her plot-affecting power, in revealing her "omniscience" and in heralding the chaotic demise of Pamela Widmerpool. As Pamela goads Polly Duport and Glober, then turns to disparage her husband, Mrs. Erdleigh emerges from the woodwork and utters a slew of abstract, occult warnings. But the evocation of such phrases as "the abyss," the "ghostly cataract," and the "sperm of the world" seems only to further rile up Pamela, and Mrs. Erdleigh melts back into the shadows to observe as Pamela unleashes her destructive tirade. Throughout the Dance, Mrs Erdleigh's character changes little - she remains an enigmatic mystic, turning up occasionally and unexpectedly to tell fortunes, disclose information about future meetings, and issue arcane warnings or advice. Her flawless record of predicting the future lends some additional order to the tangled web of lives and events that the Dance can seem to be. At the same time, Mrs. Erdleigh is perhaps the most reason-defying character of the series, more far-fetched, from a rational, real-world point of view, than even the unbelievably obnoxious Pamela. Overall, as a conduit for the supernatural, Mrs. Erdleigh affects the plot and characters of the Dance in a unique, unorthodox, and dramatic way, all the while adding to the intrigue of the world with a touch of otherworldly mystery. |
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Madeleine Fawcett "It was Death she liked," says Nick, of Pamela, as he witnesses Gwinnett being introduced to the vixen, herself (102). This statement is ironic because, although Pamela may be amused by the deaths of her most unfortunate lovers, we find that Gwinnett is the one who takes real pleasure in Death ... especially poor Lady Widmerpool's. At first, Nick is quite bothered over whether or not he should introduce Gwinnett to Pamela, but before he has to make that decision, Glober grabs Gwinnett by the arm and drags him over to Pamela and Ada. Nick observes as Gwinnett, "conveying only the merest atom of overt friendliness," takes the initiative to get to know Pamela. Contrary to what Nick thinks, Pamela accepts Gwinnett's questions about Trapnel (101). "Something had been achieved between them" (102). As Gwinnett tries to gain information on Trapnel from Pamela, Nick reflects on how Trapnel has become just another one of Pamela's "men who had played some part in her life, but were no longer there to do so" (102). He then, of course only in his own mind, brings up the question of whether Gwinnett will be able to offer her death. The irony of this statement is that, by saying "would Gwinnett be able to offer her Death?" Nick means to say that he wonders whether Gwinnett will be added to Pamela's repertoire of dead lovers. The question Nick poses is a play on words which foreshadows what actually happens; however it arrives in a different sense. Gwinnett and Pamela do meet in Death, but not in his. The strange circumstances of Pamela's death imply other things about Gwinnett, and his attraction to Death. The introduction of Gwinnett to Pamela is not purely innocent; although the reader does not witness, directly, the relationship that develops between them, we assume that, as with all of Pamela's meetings with men, this one turns into an affair. Nick hears from Gwinnett later on in a letter. He says that Gwinnett "remained enigmatic," commenting on Death, but not specifically on Pamela's death. It is here that Nick suggests that it is possible that Gwinnett knew that Pamela was dead when he slept with her, and that Gwinnett may have had necrophilia tendencies. After all, Pamela is not the one who likes Death so much; Gwinnett is, in fact, the one who is stimulated by the death of Pamela. The whole situation is very ironic. Although Nick's statement at the beginning of Temporary Kings suggests that Pamela will eventually add Gwinnett to her list of dead lovers, she is actually the one added to a list of the deceased. Pamela is deserving of the strange way she dies; she has caused death - maybe not physically, but certainly emotionally - for so many of her lovers - Peter Templer, X. Trapnel, Ferrand-Seneschal - that it is quite appropriate that she die in the arms of someone who loves her not just till, but even past, "Death do us part." |
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Gauri Kirloskar In the books before Temporary Kings Widmerpool has grown into a powerful character. His business life is at its peak; he is now a Life Peer and is referred to as "Lord Widmerpool," a term that commands respect. The only real problems he seems to have are those with his marriage. Obviously any marriage with Pamela would be a disaster. Widmerpool seems to be taking her sexual escapades in his stride. However we soon discover that Widmerpool is a spy; not only a political spy but a sexual spy, too. His image changes from that of a highly respectable gentleman to a sneaky voyeur. On page 110, Pamela accuses him of hiding pornographic material in his desk. "All the same, the subject of this particular picture might catch your attention - for instance remind you of those photographs shut up in the secret drawer of that desk you sometimes forget to lock." These photographs were of Pamela and Ferrand-Sénéchal in bed, but this isn't clear at this instance. Pamela just says, "How Léon-Joseph laughed, when I told him." We later know for sure that these pictures are those of their sexual act when Pamela says on page 261, "He thought I didn't spot he was watching through the curtain." During the first incident Widmerpool gets furious and "red in the face." He starts talking about Dr. Belkin and how important it is that he must find him, either more interested in his political affairs or anxious to change the subject. During the second incident of accusation, Widmerpool is silent. He does not actively protest; only when Pamela mentions his political spying is he pushed over the edge. It is possible he might have struck Pamela, according to Moreland. We first come to hear of Widmerpool's political activities from Bagshaw. "He himself could have felt he needed a little of that sort of attention to build up his reputation as an anti-Communist of the extreme Left. Make people think he's a safe man, because he's attacked from the Communist end. Pretend he's an enemy, when he's really a close friend." (188). Bagshaw goes on to say that he has been "thinking a lot about Widmerpool because "he's a very interesting political specimen." This seems to be a clue for us to watch Widmerpool because something big is going to happen. We are not disappointed. About thirty pages later Farebrother talks of Widmerpool. "[Widmerpool] had been giving encouragement, too, by passing across little bits of information [about the Russians] himself from time to time. How valuable that information was remains to be seen" (211). It is now pretty obvious that Widmerpool is a spy. Surprisingly he does not get into any trouble for it. On page 246 Stevens provides more details - "It's been suggested he wrote an indiscreet letter. Realized he'd gone too far, then tried to withdraw.... They asked for more, he stalled - got cold feet - they gave him away to us. " Widmerpool did not get into any hot water - "Whatever happened, he's got away with it." Does Widmerpool have so much power that he can abuse his without anyone else touching him? Or is he just lucky? Even though Widmerpool does not land himself in trouble, it is obvious that the goings-on have affected him. His sexual spying has been exposed at the Stevenses' party, and Pamela has died of an overdose in Gwinnett's hotel room. In the last scene of the book we see him. "His body was thinner, the flesh of his face hanging in sallow pouches. So deeply, so all envelopingly , was he dressed in black, that he looked almost ecclesiastical" (279). He is on his way to the House of Lords. "Fortunately, I was in a position to rebut my accusers … "(280). Widmerpool says he is not involved; however, he is still "unhinged." However, this could very well be because of the circumstances of his wife's death. "The squalor of that hotel ." Right now, Widmerpool has nothing going for him, except that he is in no more trouble. He seems almost crazy in the last scene. Where will he go from here? |
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John--Enjoyed the TK papers--I like the idea of the passing of Moreland as more central to the book, not just a kind of sad incident in the background--I also was interested in the response to the Americans--I am particularly intrigued by Nick Jenkins 'liking' both Gwinnett and Glober, as different as they are. And, yes, as Gauri's paper put it, Widmerpool does seem to lose his mind in the last two books--the antithesis of the Mr. Regular Army he had tried to be during the war. Nick |