The doubly-depressing biography of Jean Rhys

The depressing effect that reading some biographies can have on impressionable readers has been mentioned in several articles, in this one about balancing the books for example. 

Too much reading about people whose lives were mostly one long nightmare scenario and who seemed to be under a curse or evil spell can make us feel that we too are trapped in hell with no way out. 

Carole Angier's Jean Rhys: Life and Work is the worst of the depressing biographies that I have read to date.

Something that the novelist Rebecca West said about Jean Rhys's autobiographical book After Leaving Mr Mackenzie (1931) also applies to Jean Rhys's other books and to Carole Angier's biography - not to mention many other biographies and fictional works mentioned on here:

“It is doubtful if one ought to open this volume unless one is happily married, immensely rich, and in robust health; for if one is not entirely free from misery when one opens the book one will be at the suicide point long before one closes it.” 

This is exactly what I am talking about. Some books have an effect similar to that of the Dementors in Harry Potter! 

In addition to being overwhelmed by a general miasma of misery, readers may find some of the material acutely distressing: the details of the suffering that Jean Rhys's actions and lack of coping ability caused to others are very painful to read. The death from pneumonia of the tiny baby she put near a balcony door in the heart of winter, her physical violence against her husbands and the neglect of her dying third husband, who went unwashed and unfed, are some of the worst examples.

An important point here is that it may be even worse for readers for whom some of it comes very close to home. 

Defence Against the Dark Arts Part XV: The artwork of Rex Whistler

The artist and designer Rex Whistler got a brief mention in an article about Beverly Nichols, some of whose books he illustrated. This was a good match: they had a lot in common. Both men were members of the Bright Young Things set for example, and both had a style that has been described as whimsical, quaint and twee. 

Rex Whistler was a very prolific producer of romantic and beautiful images during his short life. He illustrated a variety of books; he produced artwork for advertisements; he painted portraits of members of London society, decorated the homes of the aristocracy and created designs for the stage.

I like his elegant, baroque style very much. There are many images of his work online, so I will feature just a few good examples. 

This poster from 1928 is an advertisement designed to encourage people to use public transport for visiting the London Museum. The poster depicts Britannia arriving in a carriage pulled by a unicorn and being greeted by a policemen, a cherub holding a London Museum guide and a dog. Several statues, including Nelson on top of his column in the background, acknowledge her presence by bowing and doffing their hats:

Spring is from 1929:

Cults and the cutting of personal connections: Part III

The previous article gives examples of members of cult-like organisations who were ordered to cut their personal connections so that they could dedicate themselves to the cause. There is another angle to broken relationships between members and non-members: sometimes it is the non-members who cut the ties. They may feel that enough is enough when it comes to being treated badly; they may do it to protect themselves. 

From another old post of mine:

“There is another side to this. It could be that it is the family and friends who do the avoiding – or dropping. They may come to hate the pressure to accept the ideology, the recruitment attempts, the lectures and the preaching; they may get tired of being pestered for money while at the same time being told how inferior they are. There may be nothing in in for them.”

They may also not appreciate being frequently stood up or let down by unreliable people: cult members are not their own bosses and are often given errands or sent away somewhere with little notice. 

Someone who has been involved with a cult member may come to understand that they have been cheated, lied to and made a fool of: misrepresentation is common cult practice.

They may feel resentful when they realise that they have been exploited and angry when they discover that they have been tricked and used. For example, they may have been invited somewhere under false pretences just to get the numbers up and make it look as though there are many supporters. 

The cult members know very well that people wouldn't go if they knew the true purpose of and ulterior motive behind an invitation, so they bait the hook with something attractive.

I remember an occasion when people were lured to a venue by the prospect of hearing good music; they got political speeches instead! Some of them got up and walked out in disgust.  

Just as some members decide to leave a cult after a last straw moment, some people decide to stop seeing their member friends after experiencing the final straw.