The Knox Brothers

The Knox Brothers
Richard Holmes

Penelope Fitzgerald

‘When I was very young I took my uncles for granted, and it never occurred to me that everyone else in the world was not like them.’In this, only her second book, Penelope Fitzgerald turned her novelist’s gaze on the quite extraordinary lives of her father and his three brothers. A masterly work of biography, within which we see Penelope Fitzgerald exercising her pen magnificently before she began her novel-writing career.Edmund Knox, her father, was one of the most successful editors of Punch. Dillwyn, a Cambridge Greek scholar, was the first to crack the Nazi’s message decoding system, Enigma, and in so doing, is estimated to have shortened the Second World War by six months. Wilfred became an Anglo-Catholic priest and an active welfare worker in the East End of London. Ronald, the best known of the four during his lifetime, was Roman Catholic chaplain to Oxford University’s student body, preacher, wit, scholar, crime-writer and translator of the Bible.A homage to a long-forgotten world and a fascinating account of the generation straddling the divide between late Victorian and Edwardian.

PENELOPE FITZGERALD

The Knox Brothers

with an introduction by Richard Holmes

Edmund 1881–1971

Dillwyn 1884–1943

Wilfred 1886–1950

Ronald 1888–1957

Dedication (#u9dc5f1a6-2900-57a6-832a-4d850a0874c6)

For My Father

“Evoe”

OF PUNCH

Contents

Cover (#ub817f264-d11a-509b-ad7a-182e949a55e3)

Title Page (#u9bcb40c3-60e3-57c1-8012-06e36a222d13)

Dedication (#u9b39cd39-bdc6-5b14-958e-a1d17de47caf)

Genealogy (#u8f1bdf60-5eee-5e72-a66d-51cdafd28454)

Introduction by Richard Holmes (#u7e953922-bcc0-5d51-9c9e-a2929c0e0765)

Foreword (#u42c54bb3-5be9-54a8-830a-1458a7d0ab1d)

I. Beginnings (#ufebf0b6a-1c18-57d2-866e-1fbd769d514b)

II. The Sterner Realities of Life 1891–1901 (#ued5b3d7e-d356-5f8f-9eb9-f2f5da922080)

III. “We imagined other people might think we were peculiar” 1901–1907 (#ua5cc25fa-9c27-5bc8-81e3-d4800c8d8a01)

IV. Knoxes and Brother 1907–1914 (#litres_trial_promo)

V. Brothers at War 1914–1918 (#litres_trial_promo)

VI. The Twenties 1919–1929 (#litres_trial_promo)

VII. “The Fascination of What’s Difficult” 1930–1938 (#litres_trial_promo)

VIII. The Uses of Intelligence 1939–1945 (#litres_trial_promo)

IX. Endings 1945–1971 (#litres_trial_promo)

Bibliography (#litres_trial_promo)

Index (#litres_trial_promo)

About the Author (#litres_trial_promo)

Also by the Author (#litres_trial_promo)

Copyright (#litres_trial_promo)

About the Publisher (#litres_trial_promo)

Genealogy (#ulink_0884269b-a202-5c2c-a1aa-2c3eab50e4c9)

Introduction by Richard Holmes (#ulink_3cb28429-a70b-58eb-8c63-a9a134d345e0)

PENELOPE FITZGERALD’S MARRIED NAME, the name under which she became loved and celebrated as a novelist, subtly disguised her true inheritance. For Fitzgerald was really a Knox, and this marked her invisibly – or perhaps, indelibly – all her long life, and especially in her later and astonishingly creative years.

As a Knox, she was descended from one of the great intellectual, Anglo-Catholic clans of late Victorian England. She was born Penelope Mary Knox in December 1916. Her great-grandfather had been the missionary Bishop of Lahore; her grandfather was Bishop of Manchester; one uncle was the writer and translator of the Bible Monsignor Ronald Knox (like Newman, a Roman Catholic convert); and her father was for sixteen years the much-admired editor of Punch, at a perilous time (1932–1948) when the magazine was still a great institution of national identity, like The Times or Speaker’s Corner or Harrods (and shared some of the attributes of each).

The Knox Brothers is her remarkable tribute to this family inheritance. It is a strikingly original group biography, and a highly engaging piece of family history, written with extraordinary wit and shrewdness: a funny, tender, clever book. But it is very much more than that. One might call it a study in a vanished civilization, and I am sure that it is destined to become a twentieth-century classic.

Its place in Penelope Fitzgerald’s work is intriguing. The biography first appeared in 1977, when she was sixty. But because of her unusual, late-flowering literary career, it was in fact one of her earliest books, and seems intimately connected with her self-discovery as a writer. In taking the measure of her formidable family background (and this is hardly a work of pious memorial), Penelope Fitzgerald found a narrative style, a fascination with human character, and a series of moral preoccupations which seemed to release the whole flow of her fiction.

Her late start as a novelist was something Penelope Fitzgerald was frequently, and often wistfully, quizzed about – for instance at the Hay-on-Wye Festival of 1994. She was famous for the modesty of her replies, and one explanation was that she had simply been too busy with life, until she happened to enter a Ghost Story competition organized by The Times in Christmas 1974, when she had just turned fifty-eight.

(Her winning story, ‘The Axe’ was published in The Times Anthology of Ghost Stories in 1975, and subsequently collected posthumously in The Means of Escape. Its victim, an ancient and – one might say – an almost disembodied office clerk called Singlebury, is introduced with a gentle but slightly unnerving irony, that is already recognisably hers. ‘Singlebury had, however, one distinguishing feature, very light blue eyes, with a defensive expression, as though apologizing for something which he felt guilty about, but could not put right. The fact is that he was getting old. Getting old is, of course, a crime of which we grow more guilty every day.’)

More searching interviews (such as that by Hermione Lee, for BBC Radio 3, in 1997) revealed how directly her first novels drew on a mass of autobiographical material, stored up over forty years, and awaiting a moment of release. The pattern of her life suggested a long, slow period of imaginative and intellectual assimilation, in preparation for a literary career that she had always hoped for, but never quite expected.

Tantalizing glimpses of her as a teenager appear in later chapters of The Knox Brothers. But, characteristically, she always refers to herself in the third person, as ‘the niece’ or ‘the daughter’. If you blink, you will miss them. From these we learn that she was largely brought up in literary London, in Hampstead and Regent’s Park, with an elder brother, and her father’s circle of brilliant acquaintances such as Belloc and AP Herbert. She attended (unhappily, one gathers) Wycombe Abbey, near Oxford, one of the most academically demanding of public schools for girls. This too appears in a wonderful, single-paragraph cameo in chapter seven.

In 1935, when she was still only eighteen, her mother died of cancer, which devastated the household. She writes characteristically of her father, Edmund Knox, at this time of overwhelming grief. ‘It was many years before Eddie could bring himself to mention her name directly, even to his own son and daughter. At the time, he asked the proprietors of Punch for a short leave of absence, and an understanding that he would not be writing any funny pieces for the paper that year.’ She says not a word of her own (‘the daughter’s’) feelings, but only notes that her uncle Ronald, when attending the Anglican funeral, being a Catholic insisted on kneeling alone in the aisle. (p. 208)

Penelope Knox took a First at Somerville College, Oxford. She then worked in a series of institutions, great and small (the wartime BBC, a children’s drama school, a Suffolk bookshop) having married Desmond Fitzgerald, a lawyer, in 1941. The family was mildly bohemian, in the Knox tradition, and were happy to live on a Thames barge, while taking occasional summer holidays in Italy and one memorable winter holiday in Russia. All of these experiences appear, transformed but recognisable, as settings for her later novels.

In 1976, the year following the ghost story, her husband Desmond died after a long illness. Penelope Fitzgerald never wrote directly about this time. But it was now, in amazingly rapid succession, that she produced in just five years, no less than six books which must have been, in some sense, bursting within her. The fascinating thing is that the first two were not novels, but biographies.

She had been working for some time on her life of the pre-Raphaelite artist Edward Burne-Jones (1975), perhaps as a distraction from her own immediate pain and unhappiness. It was inspired, she said, by Burne-Jones’s stained-glass window of the Last Judgement, in St Philip’s, Birmingham. ‘No agitation here, the dwellers on the earth simply stand waiting for their sentence. The whole effect depends on the late afternoon sun slanting through the glorious red of the massed angels’ wings. It is a window for Evensong.’ (p. 271) The biography is lively, engaging, and well-researched, with a particularly striking picture of Burne-Jones’s domestic life. But it also has the slight narrative stiffness, the uncertain deployment of materials, and uneven emotional tone, of a first book.