Dear friends and readers,
As you doubtless know if you’ve been reading this blog, the new Poldark mini-series is garnering much attention. Among remarkable items of interest suddenly turning up on-line are five texts by him read aloud sensitively, beautifully by two actors. One reason the Poldark novels have not been acceptable to the establishment is that while Graham is alive to this post-modern aspect of his fiction: how you can’t know the past, memory is failing, the universe itself unknowable, much relative, he does not make it central to his historical fiction and mystery larger structures — he mentions it now and again and there is a strong gothic undertow — well this idea and a gothic feel is central to these:
Meeting Demelza: a story written late in life where Graham meets his character at last; she tells what still hurts, we feel his ghostly desire: read by Ewan Bailey
Ross and Demelza: one of the most powerful and visionary all chapters in Graham, where shortly after they are married, he takes her to an all night pilchard harvest in a brilliantly lit cove — read by Ewan Bailey, from Ross Poldark
Three stories, all three abridged:
The Cornish Farm: set in the 20th century, a couple come to live and work a Cornish farm, a haunting marital suicide tale read by Nicholas Farrell
At the Chalet Lartrec: One not set in Cornwall but the Swiss Alps in the 1960s where the narrator seeks shelter from a blizzard (I thought of Robert Louis Stevenson’s “A Lodging for the Night”); another haunting tale of apparent murder. Read by Ewan Bailey
The Old Boys: two now grown up boys meet on the grounds of their school, a meditation on how we re-interpret our past, how what for one is now amusement, for another is deep trauma. Read by Nicholas Farrell
If you’ve listened through, you’ll have experienced a shared set of themes, moods, character types and peculiar similarities, down to the man who claims to have strangled his wife resembling Mark Daniels (who in the Poldark books does), the throwing of precious things deep down a well.
These feel dark and the snatches chosen are apolitical. The Poldark novels have a strong element of intermittent sunshine and hope and are political, left-liberal, just now in public media beginning to be talked about for the first time. Read this short essay by Stephen Fielding, a professor of political history at Birmingham:
Poldark was actually one of the most radical period dramas of its day, reflecting the influence of the novels written by Winston Graham on which it was based. The first Poldark novel was published in 1945, the year Britain elected a Labour government intent on building a more egalitarian society. Graham’s work was shaped by that context.
His villains are the Warleggans, described in the novel as the “new aristocracy”. These financiers-cum-industrialists are the “the people of the future”, monopoly capitalists in all but name, intent on destroying communities to earn a profit, and able to exploit a legal and political system that reflects their interest. Against them stands Poldark, who, as an impoverished squire, gestured to a more classless past in which squire and tenant shared the same economic interests. As Graham wrote in Ross Poldark (1945): “All men were born in the same way: no privilege existed which was not of man’s own contriving” …
Ross Poldark was, then, one of literature’s classic figures on the fringe, a man of noble birth who identifies with the people rather than with his own class.
I wouldn’t call him Robin Hood, rather a combination of the old romance hero of the Gainsborough films (remember Stewart Grainger in the UK, Errol Flynn in the US) and Che Guevara. Robin Ellis captured this latter aspect of the mood of Graham’s hero in this moment in spades: