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Railroad Mills Road, R. D. 1, Pittsford, New York. - Thanks Trevelyan for his lovely Christmas cards: has sent Salvemini his, and quotes from his reply, deleting something about Churchill. Salvemini has not been well, but now seems to be recovered; she wrote to him yesterday quoting Shakespeare about the mortality of kings, to cheer him after what he had said of the 'great man mentality'. Has a lovely edition of Shakespeare, by Bruce Rogers, and has been reading the plays lately. It is worse winter in living memory; she and Sam were snowed in for six days, and they have been feeding the birds. Liked Richard Church's review of "Windfalls". Asks for news of Gordon.

Newspaper cuttings, many sent to Trevelyan by Durrant's Press Cuttings agency, from: the "Sunday Times" [by Desmond MacCarthy]; "Times Literary Supplement"; "News Chronicle"; "Manchester Guardian"; "Time and Tide" [by John Russell]; "New Statesman and Nation" [by Richard Church]; "Weldon's Ladies Journal"; "Spectator"; and "Contemporary Review".

Most sent on by Durrant's Press Cuttings, St Andrew's House, 32-34 Holborn Viaduct, E.C.1 and 3 St Andrew Street, Holborn Circus, E.C.1.

1) from the "Dublin Evening Mail", 28 Apr 1932.
2) from "The Listener", 4 May 1932, "Overhauling Pegasus"; also includes discussion of collections by William Plomer and Alan Mulgan.
3) from the "Northern Echo", 4 May 1932, "New Verse"; also includes discussion of collections by Plomer, Sir Leo Chiozza Money, and Dorothy Wellesley
4) from the "Spectator", 14 May 1932, "Poetry-Lovers, Prosody and Poetry", by F. R. Leavis; also discusses collections by Ann Page, Mulgan, Anna de Bary, Wellesley, William Jeffrey, A[braham] Abrahams, Julian Huxley and Plomer
5) from "Country Life", 14 May 1932, by V. H. Friedlaender; also discusses collections by John Lehmann and Plomer, and the Hogarth Press's anthology "New Signatures"
6) from the "Aberdeen Press and Journal", 18 May 1932
7) from the "Bedfordshire Times", 24 May 1932, "A Book for the Poet-Technician"
8) from "Granta", 27 May 1932, "Tomes of Pomes"; also discusses collections by Plomer and Philip Henderson.
9) from the "London Mercury, June 1932, by Alan Pryce-Jones; also discusses collection by Henderson
10) from "Life and Letters", June 1932, by Austin Clarke; also discusses works by A.E. [George William Russell], Thomas Sturge Moore, "New Signatures", Huxley, Plomer, and Sherard Vines's anthology "Whips and Scorpions"
11) from the "Manchester Guardian", 1 Jun 1932, "Mr. Trevelyan's Verse".
12) from the "Scotsman". 1 Jun 1932;, "New Verse Forms" also discusses works by Plomer, Dorothy Matthews, Abrahams, Chiozza Money, and Horace Horsnell
13) from the "Oxford Magazine", 2 June 1932, "Poetry and Tradition".
14) from the "Scots Observer", 9 June 1932; also includes discussions of works by Mulgan, Rosamond Langbridge and Lorna de' Lucchi
15) from the "Buxton Advertiser", 2 July 1932
16) from the "Times Literary Supplement", 14 July 1932; also another copy, not sent by Durrnants
17) from the "Glasgow Herald", 20 July 1932 "On a Classical Model"
18) from the "New Statesman and Nation", 3 Sept 1932, "Some Poets"; also involves discussion of works by Laurence Whistler, George Villiers, Arthur Legge, Charles Davies, de' Lucchi, Geoffrey Johnson, Norah Nisbet and Mulgan.
19) from the "Sunday Times", 9 Oct 1932, by Dilys Powel, "Scholars and Poets"; also discusses works by Geoffrey Scott, Whistler, Davies, Geoffrey Lapage, Villiers, and Eden Phillpotts
20) "Rhythm and Rhyme. Mr R. C. Trevelyan's Notes on Metre"; perhaps from the "Birmingham Daily Mail" of 28 Apr 1932, as there is a spare Durrant's label which has become detached from its review
21) from the "Observer", 6 Nov 1932, "New Poetry", by Humbert Wolfe. Not sent by Durrants; also discussion of works by Clifford Bax. W. H. Davies, Gordon Bottomley, Edmund Blunden, Wilfrid Gibson, and Richard Church
22) from the "Japan Chronicle", 15 July 1932, "Poets of a Transitional Period"; also discusses works by Plomer, Easdale, Lehmann, C. Day Leis. and "New Signatures"
23) from "The Bookman", Sept 1932, "The ''Georgian Poets', or Twenty Years After", by Wilfrid Gibson. Not a review of "Rimeless Numbers", but a discussion of Edward Marsh's anthologies

Wadham College, Oxford.—Apologises for not writing sooner. Has been busy preparing for the prelims in March, which include a paper on Latin, two on Anglo-Saxon, and three on tragedy—Greek, Shakespearean, and neo-classical. Is unsure whether he likes Anglo-Saxon, and suspects they only learn it to ‘keep the dons at work’. His present tutors are [George] Forrest, [Alan] Ward, and [John] Bamborough; later this term they will have Humphry House for the Poetics. Five people are taking prelims in English at Wadham this year. Refers to the college’s connections with twentieth-century literature through C. Day Lewis, Rex Warner, and Humbert Wolfe, and discusses lectures he has been attending by Miss [Pamela] Gradon, Dorothy Whitelock, House, Helen Gardner, and Lord David Cecil. Describes his rooms and gives his impressions of the college. Has joined three clubs: the English Club, the Poetry Society, and University Critical Club. The English Club engages people like James Laver (on Huysmans), Angus Wilson, Richard Church, and Louis Macneice to talk or read poems. The last talk, by J. I. M. Stewart on ‘Literature and the New Psychology’, was very bad. The Poetry Society is an ‘Art-y affair, favouring the modern romantic verse’. Their first meeting, featuring readings by Clifford Dyment and his wife, was ‘frightful’. ‘We also have Patrick [sic] Dickinson, Day Lewis and a production of Macneice’s Eclogues (with music) besides other things to come.’ The Critical Society is ‘a somewhat elusive organization’ sponsored by F. W. Bateson. Has only attended one of their meetings so far, a talk by Leavis on Yeats’s Byzantium poems, which was excellent. ‘The other two talks this term are D. W. Harding on Shelley, and Wilson Knight re-interpreting the Scholar Gipsy, which should be interesting. There are also two discussion groups on William Faulkner’s “Sanctuary” and Langland.’ Refers to some recent book bargains. Is reading Coningsby, which is disappointing. Asks how Smith’s lectures on the Nineties are proceeding and whether his promised assistance has come. There is a revival of interest in Ezra Pound. Will try to describe some of the ‘fancy-waistcoated gentlemen themselves’ in his next letter. Asks whether Smith did any travelling this summer, as planned.

2 Rue St Martin, Neauphle-leChateau, (S[eine] et O[ise]) [from envelope). - Apologises for not replying sooner to Trevelyan's letter: being in the country he has been working very hard, although has not therefore done anything which has satisfied him. Did not see [Francis] Birrell at all: he cannot come to Marchand's house without Marchand knowing. Marchand left at the end of May and came to a 'little place' in the Isle de France, Neauphle-le-Château. Sonia [Lewitska] is already doing better than she was in Paris but she still has a lot to do to recover completely. He 'regenerates himself as well as he can, without having found the ardour of the past': believes the last five years will 'weigh heavily' on their 'much-maltreated generation'. Vignier [?] is 'always equal to himself', and claims in fact to surpass himself as he is working hard to progress without a pause.

Saw Miss Deacon twice during her stay at Paris, but in a very unexpected way. Regrets that he has not received Roger Fry's article, and so has not thanked him, but hopes to send soon to send Fry an almanac he has illustrated in collaboration with several artists. Hopes to come to London some time around November; will be very pleased to meet Trevelyan's wife and 'young amateur of landscapes' [Julian], who seems typically English to him as he has often noticed that the English have a 'predilection' for this genre of painting. Sonia has finished her woodcuts for the Joinville [Jean de Joinville, "Le Livre des Saintes Paroles et des bons faits de Notre Saint Roi Louis"], and they both send best wishes to both Trevelyans. Adds a postscript that he does not have many details about his exhibition [at the Carfax Gallery?]: asks whether it was not 'too disparate' despite the range of periods it covered.