Spaces for Reading in Later Medieval England. Front Matter Pages i-xxiv. Pages Reading in London in A Micro-Study. Reading without Books. Marlowe was tall, broad, with large hands and spatulate fingers. He smoked untipped cigarettes, drank whisky and soda and Heineken lager, and had the air of a nostalgic, middle-aged Byron.
The following is a slightly edited transcript of our conversation. Derek Marlowe: There was always in those colleges a standard university magazine. Each college tries to produce its own magazine, i. In fact the college magazine was called The Leopardess , which had all the traditional things of a college magazine, i.
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Very dull. Printed on Xeroxed paper. I adored him because he was totally rebellious and he wrote this extraordinary, anarchic poetry. This was about He was very fond of haiku, and Beat poetry, Ferlinghetti and Allen Ginsberg, which were quite new to me, and he wore a James Dean jacket—this was all quite rebellious for university.
He edited it, then he wanted someone to go with him on it. He wanted to change the magazine, and he decided I was a kind of heavy-weight person because he saw that I never turned up at lectures—I always hung around the Drama Society. I used to do caricatures for the broadsheet and for the university itself.
I used to do film reviews. I wanted to be a cartoonist. I did caricatures and cartoons of various people in the college—the professors, the students. We got together and we changed the whole magazine, kind of like Mark Boxer did in the early Sixties for [Michael] Heseltine.
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We made it glossy. We had poems, we had articles, we had photography, we had drawings, and I think it became a very good magazine.
It was quite expensive, but it was kind of footed by the idea of enthusiasm. Then it got out of hand, I suppose in a way, because one allowed the horse to have its head. Very mild.
I was sent to see the Dean, and in my naivety, the Dean asked me to leave. And that was the end of the magazine. The magazine actually survived for two more issues. Lee Harwood was thrown out too. And that was it. And there was Harry Corbett.
Shelagh Delaney, Frank Norman, who all used to come down to the Queen Mary College simply because it had this huge, great theatre there, to rehearse, to put on plays, try them out. And I worked there for two-years, and rather liked the theatre. I was there as leading actor. Most of the plays were Tennessee Williams, and I seemed to have managed a reasonable Southern accent.
Because we want to take it to the Edinburgh Festival Fringe.https://dparousclicun.tk
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I managed to get the thing out by then, it was quite a short story. We took it up to the Fringe in , which was a very good year for the Edinburgh Fringe. It was the year when Beyond the Fringe was started, Dudley Moore and all that. Albert Finney was there. It was a very exciting time. The play was very successful, surprisingly. This was Corin Redgrave , who was then at Oxford. It went on at the Royal Court. I got five pounds for it.
I got an agent, and I was a professional writer, and that was it. It won an award too. So, I suddenly realised I was five pounds better off, and was considered a successful writer. I was in the ground floor, Tom [Stoppard] was actually downstairs in the basement, and there were about four-five other people. Freddie Jones, the actor, was just above me.
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He had just come from Bristol and was writing short stories. I got to know Tom very well and by chance [we were both on] the Berlin Colloquium, which was a Ford Foundation set-up for sculptors, poets, writers, playwrights, novelists, to spend nine-months in West Berlin, in one of those wonderful houses with everything paid-for. All you needed to have was something you had done professionally.
He became the kind of father to the three of us. Our job was to write a one-act play which the Ford Foundation would own ostensibly. After we left Berlin, Piers, myself and Tom did share a flat together. What are you doing? What I remember most about all this is that it was only off-the-cuff. At that time, Peter Hall was just starting, the most important kind-of theatrical company in the world, doing extraordinary stuff with wonderful directors and actors and ideas.
Hall had decided to use the Arts Theater to put on five plays as an adjunct to the Royal Shakespeare Company at the Aldwych, and one of them was Lower Depths. In between, I also was asked to do a musical for the Mermaid Theater which I got through my agent who was then Margaret Ramsay. I was astonished, I thought it was so easy.
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I loved being in the actual theatre, not as much as Tom—Tom actually adores going through rehearsals, and he works like a Trojan to go through every rehearsal and worries a great deal. When we were in a flat in Euston Square Tom worked at night, I worked at day. But he used to take eighteen matches from a matchbox, and lay them out on his desk, one-by-one, side-by-side, and he would write eighteen matches that night, i. The thing is he would actually set himself to write eighteen-matches. It was quite a lot. He would do that. He would work, over-and-over. He is extraordinarily meticulous about everything he would write.
I saw the theatre as being something rather false. I found the stage, the proscenium arch and everything, terribly restricting. I wanted to kind-of put people into visions, I think more in visual terms rather than literary terms or verbal terms. While I was in Berlin I wrote a novel which was going to be a play, but I wrote it as a novel and I suddenly enjoyed it.
This is wonderful. I wrote it on trains, on the loo, everywhere. I loved writing prose. I thought it was smashing. DM: When I wrote Dandy in , there was great deal of publicity and articles and books about spies. Not fictional. It came out around that time, simply because there was a great deal of information being given to us about [Kim] Philby , Guy Burgess , and [Donald] MacLean. They were then in the news a lot. It was a rather fascinating thing because you wanted to know a lot about them. Going to the Eden Club, a kind-of strip club, or going to a bar and sitting next to a Russian soldier.
The Wall had just been built then too.